Issuu

OD-40021374

TABLE OF CONTENTS

FROM YOUR SYMPHONY & CHORALE From the Board President From the Executive Director From the Music Director Music Director Biography 2019-2020 Board of Directors & Staff Midland Symphony Guild Odessa Symphony Guild Ticket Pricing Symphony SoundBites Symphony Young Professionals Music Education

8 9 10 11 15 16 20 25 26 37 38

OUR SEASON 2019-2020 Season From East To West A Rodgers & Hammerstein Celebration The Planets Wizards, Witches & Fantastic Beasts

22 28 40 48 58

OUR ENSEMBLES MOSC Chamber Ensembles MOSC Orchestra 2019-2020 Chamber & Choral Concerts

12 13 24

OUR CONTRIBUTORS / DONORS 2019-2020 Sponsors 2019-2020 Annual Fund Contributors Endowment Fund Contributors Advertiser Index

64 65 69 94

OD-40021038

FROM THE BOARD PRESIDENT The Midland-Odessa Symphony & Chorale Board of Directors would like to welcome you to the beautiful Wagner Noel Performing Arts Center for the 2019-2020 season. We hope you are as excited as we are about the wide range of musical selections our Maestro, Gary Lewis, has selected for the 57th season of MOSC. Technology provides most of us unlimited access to music and arts in the palm of our hand. However, enjoying the experience of a live orchestra inspires each of us and allows us to be part of a community experience and revel "in the moment." This season will not disappoint! It begins with the most well-known piece of western music in the world Beethoven's Symphony No. 5. The Masterworks Series also includes Tchaikovsky in November, From East to West, featuring our own Kevin Young on tuba in January, and concludes in April with The Planets. The Pops and Family Series begins in October with the popular Film Concert Live performance of The Addams Family, followed in December by the always entertaining Sounds of the Season. March will feature Rodgers & Hammerstein with Broadway performers and the series will finish in May with a family concert, Wizards, Witches & Fantastic Beasts. I would be remiss if I did not mention our wonderful Chamber Concerts which are usually held on Sunday afternoon. The West Texas Winds, Permian Basin String Quartet and Lone Star Brass provide a wide palette of classical and contemporary music in a more intimate setting. Our amazing Chorale will be performing their concerts in October and April. For specific dates and locations of these performances, please check our website MOSC.org. It is going to be a great season and we hope you will share in the experience. The Midland-Odessa Symphony & Choral graciously recognizes and salutes the generous support of our advertisers, concert goers, friends and patrons. We are excited to bring orchestral music to the community and are forever grateful for the opportunity to bring live music to the Basin. Carolina Keith MOSC Board President

FROM THE EXECUTIVE DIRECTOR Welcome to Tonightâ€™s Concert! We are so pleased that you have chosen to join us here tonight as your presence supports MOSC as the premiere arts organization in the Permian Basin. You may be surprised to learn that MOSC provides a wide variety of music entertainment and enrichment throughout the season in addition to our Masterworks and Pops & Family Concerts. We have a youth choir (Voices of the Permian Basin) of over seventy voices and an adult choir (Symphony Chorale) of a similar size, both performing concerts throughout the season. Our three instrumental ensembles, Lone Star Brass, Permian Basin Strings and the West Texas Winds perform two chamber concerts per year, participate in our music education programs at ECISD and MISD schools and are available to book for special events. We are so proud to bring quality music to our community and can continue to do so because of your patronage. As the case with most symphony orchestras throughout the United States, MOSCâ€™s ticket revenue covers only 22% of our annual expenses. We rely on our annual fund drive donations, concert sponsorships, guild donations, endowment distributions, annual fundraiser concert revenue and grant revenue to achieve the remaining 78% of our needed revenue. Along with your attendance at our many events, we also hope you will consider supporting MOSC by donating to the annual fund drive or providing a Legacy gift to our endowment that supports MOSC now and in perpetuity. As a non-profit 501(c)3 organization, your support through all our giving-opportunities is tax deductible. To make a donation, use our website at mosc.org or contact Violet Singh, our Development Director who will be happy to visit with you about making a Legacy gift or other financial support. We hope you enjoy our concerts throughout the season as much as we enjoy bringing them to you. Again, thank you for making MOSC such an important presence in the Basin. Jeannette Kolokoff MOSC Executive Director

FROM THE MUSIC DIRECTOR FROM THE MAESTRO Greetings and welcome to the 2019-2020 season of the Midland-Odessa Symphony Orchestra! We are delighted you can join us for this incredible season of great music. If ever there was a season of “greatest hits,” this is it! We will kick things off with an evening of Beethoven featuring pianist Roberto Plano, former Van Cliburn Competition finalist and Cleveland International Competition winner, performing Piano Concerto No. 3 along with the iconic Fifth Symphony. In November, Austin violinist Brian Lewis returns for his second appearance with us and will perform the beautiful G minor Concerto by Bruch. We will pair that with Tchaikovsky’s majestic Fifth Symphony. East meets west in January as Chinese conductor Jiang Liu, former violinist in the MOSC, returns to the orchestra to share the podium, conducting Overture No. 1 by Chinese composer Guan Xia. The exotic Prelude to the Afternoon of a Faun by French composer Claude Debussy helps us transition to the west for Aaron Copland’s Four Dance Episodes from “Rodeo.” We are especially pleased to feature Kevin Young, MOSC’s principal tuba, as our soloist, performing the Vaughan Williams Tuba Concerto. Our Masterworks series comes to a close in April with virtual trip through the solar system accompanied by Holst’s awe-inspiring “The Planets,” complete with HD video images from space. And I am very pleased we can share the stage with Geraldine Walther, violist with the famed Takács Quartet and former principal viola of the San Francisco Symphony. Geri is truly one of the most gifted and important violists of our time and will be performing one of the greatest works for viola and orchestra, the Bartok Viola Concerto. As always, our Pops and Family Series brings to you a wonderful variety of music and entertainment. When we screened the film The Wizard of Oz with live orchestral accompaniment two years ago, the response was so positive we decided to present another movie this season to get us into the Halloween mood, The Addams Family. The “Sounds of the Season” will once again get the holiday season started in a festive way featuring all of the ensembles and choirs within the MOSC along with special guest vocalists Scott and Nikki Windham. The Pops and Family series continues with a special Rodgers and Hammerstein Celebration, featuring Broadway performers along with our Symphony Chorale. And “Wizards, Witches and Fantastic Beasts,” with music from fantasy movies brings our season to a close. We are so very grateful for your support and patronage as we simply cannot bring this great music to the Permian Basin without your help. Please be sure to also attend the many wonderful performances by the outstanding ensembles of the MOSC, the Chorale, our youth choir The Voices of the Permian Basin, along with the West Texas Winds, Lone Star Brass, and Permian Basin String Quartet. These programs are always inspiring and engaging and you don’t want to miss them! We are happy you are here with us tonight. Plan to bring a friend and join us throughout this season of great music as we continue our mission to change lives in the Permian Basin through great music. I look forward to meeting you at the concert! Gary Lewis Music Director and Conductor,

GARY LEWIS MUSIC DIRECTOR & CONDUCTOR Gary Lewis is the Music Director and Conductor of the Midland-Odessa (TX) Symphony Orchestra. He is also Director of Orchestral Studies and the Bob and Judy Charles Professor of Conducting in the College of Music at the University of Colorado Boulder, where he conducts the University Symphony Orchestra and oversees the entire orchestra program. At CU-Boulder Mr. Lewis also leads the graduate program in orchestral conducting including both the masters and doctoral level. His former students are currently enjoying success as conductors with professional orchestras and opera companies, university and public school ensembles, and youth orchestras. Prior to his appointment at Colorado, Lewis served on the faculties of Texas Tech University, The Ohio State University, The University of Michigan, and Abilene Christian University. He is equally at home with professional, university, and youth ensembles. He is the Principal Guest Conductor of the Boulder Philharmonic and has appeared with the Colorado Symphony Orchestra, the Colorado Music Festival, Boulder Ballet, Midland Ballet Theater, Ballet Lubbock, the Lubbock Symphony Orchestra, the Abilene Philharmonic Orchestra, the Quad Cities Symphony Orchestra, the New Symphony Orchestra (Sofia, Bulgaria), and the Western Plains Opera Theater. His work with summer music festivals has also been noteworthy including the Interlochen Center for the Arts, Pine Mountain Music Festival (opera and symphonic) and Rocky Ridge Music Center. As a strong advocate of music education, Mr. Lewis has presented many in-service workshops for public school educators, as well as numerous presentations at state and regional music education association conferences. In addition, he has conducted All-State Orchestras and Bands in many states along with the ASTA National Honor Orchestra and the Honor Orchestra of America. In 2010 Mr. Lewis became the founding Artistic Director of the Greater Boulder Youth Orchestras and also served as conductor of the Symphony Orchestra until 2016. Mr. Lewis is also a strong proponent of new music. He has been instrumental in the development and production of contemporary music festivals and his interest in new music has led him to collaborations with composers such as Dan Kellogg, Carter Pann, George Crumb, William Bolcom, John Harbison, Chen Yi, Michael Daugherty, Stephen Paulus, and many others. Gary Lewis is a Yamaha Master Educator.

MOSC 2019-2020 ORCHESTRA PERSONNEL GARY LEWIS, MUSIC DIRECTOR AND CONDUCTOR VIOLIN Sarah Cranor, Acting Concertmaster & Principal Second Endowed in memory of Dorothy Croft by the Midland Symphony Guild Alejandro Gómez Guillén, Acting Concertmaster & Principal Second Yaesolji Shin, Associate Concertmaster Laurel Lawshae, Associate Principal Kevin Crutchfield Sarah Figueroa Nikesha Hailey Amanda Hernandez Lowell Hohstadt Saikat Karmakar Karen McAfee Robert Meinecke Turner Partain Abi Rhoades Jason Snider Nathan Southwick Ariya Tai Erin E. Weber VIOLA Han Dewan, Principal Endowed by Mary de Compiegne & Rosalind Redfern Grover Laura Peña, Associate Principal Catherine Chen Beau Garza Kathy Hohstadt Gil Jarvis Miriam Oddie CELLO Amy Huzjak, Principal Endowed in memory of Walter Osadchuk by Dr. and Mrs. Michael Miller Danny Mar, Associate Principal Maia Cook Ilia De la Rosa Aurelia Rocha David Thomas

BASS Bill DeLavan, Principal Mark Morton, Associate Principal Christopher Arcy Endowed in memory of Mary June Rasmussen by Mr. Kenneth Anderson and Dr. Anne Acreman, MD Alissa Stepro FLUTE Melissa Graham Hansen, Principal Kate Martin, Associate Principal Julia Barnett, Piccolo OBOE Caryn Crutchfield, Principal Abby Yeakle Held, Associate Principal Ann Hankins CLARINET Chris Chance, Principal Tyler Webster, Associate Principal & E-flat Mande Gragg, Bass Clarinet BASSOON Philip Hill, Principal Bill Harden, Associate Principal

TROMBONE John E. Elizondo, Principal Darin Cash BASS TROMBONE Jon James, Principal TUBA Kevin Young, Principal TIMPANI Tim Mabrey, Principal PERCUSSION Erin Martysz Thies, Principal Jacob Adam Garcia Matt Richards HARP Vincent Pierce, Principal PIANO LuAnn Lane, Principal Endowed in honor of Shari Santorelli by Karen & Spencer Beal

HORN Sonja K. Millichamp, Co-Principal Scott Millichamp, Co-Principal Norma Binam Susan Kelley TRUMPET Eric Baker, Co-Principal Ben Fairfield, Co-Principal Endowed in honor of Michael J. Santorelli by Karen & Spencer Beal John Irish

2019 - 2020 BOARD OF DIRECTORS & STAFF OFFICERS Carolina Keith, President Patrick Canty, Executive Vice President David Lauritzen, Immediate Past President Connie May, Vice President Finance Diann McKee, Vice President Sponsorships Marc Kondrup, Secretary

DIRECTORS Dee Anna Arellano Joseph Baker John Barkley Dee Carter Steven Dojahn Nicole Dragisic Dr. Deborah Edwards Thomas E. Elrod Dr. Paul Feit

Dr. Aaron Hawley Tatum Hubbard Fulbright Sharon Humphreys Scott Long Steven Palma Betty Ann Prentice Suzanne Rathbun Robin Richey Stephanie Rivas

David Robbins Jeryn Roberts Melissa Rowland Deb Shaw Gregory Smith Jessica Waller Melissa Ware Rebecca Young

HONORARY MEMBERS Mrs. Leland Croft (dec’d) Mrs. James A. Fowler (dec’d) Mr. Don Williams (dec’d) Mr. Josh H. Parr (dec’d) Mrs. Ellen Noël (dec’d)

Mrs. Lois Rochester (dec’d) Ms. Mary Harrington (dec’d) Mr. Don Williams (dec’d) Mr. Fred Trout Jr. (dec’d)

M O S C S TA F F Gary Lewis, Music Director & Conductor Jeannette Kolokoff, Executive Director Violet Singh, Development Director Crystal Radford, Marketing Director Rino Irving, Operations Manager / Librarian Melissa Graham Hansen & Caryn Crutchfield, Personnel Managers

Deanna J. Russell, Office Administrator Gregory Pysh, Chorale Conductor Emily Baker, Voices of the Permian Basin Director Bill DeLavan, Music Education Coordinator

F R A N K A . B E L L AWA R D S For contributions and/or services that have significantly advanced the mission of the Midland Odessa Symphony & Chorale, Inc. Ted Hale - April 14, 2007 Frank A. Bell - May 21, 1997 Grace Osadchuk - October 13, 2007 The Beal Family - May 19, 1999 Scott W. Long - May 18, 2013 Robert E. Hunt - August 31, 2000 Mary Harrington - May 16, 2001 15

2019 - 2020 PRESIDENT, MIDLAND SYMPHONY GUILD Midland Symphony Guild (MSG) is excited to begin its 57th year of supporting the Midland-Odessa Symphony & Chorale (MOSC). MSG began with the goals of supporting and raising funds for our local symphony music program. Over the past five decades, that effort has grown into a non-profit organization that provides annual financial and volunteer support to MOSC and its various productions and events. MOSC enriches the communities of both Midland and Odessa by showcasing world-class performers, local artists and musicians and featured presentations. MSG is comprised of members who invest both time and money in their local communities. Last year, MSG donated more than 1000 volunteer hours at 700 different events. The majority of these service hours were contributed by our Symphony Belles, daughters of our MSG members. Each Belle is required to complete 15 placements throughout their years in the MSG program (9th-12th grades). This requirement of service fosters both a sense of giving back to the community and appreciation for the talented artists and musicians. In addition, to the MOSC, our Belles volunteer with community organizations such as Safe Place, Midland Festival Ballet, Museum of the Southwest, Arts Council of Midland, Permian Basin Opera, Midland Community Theater and the Wagner Noel Performing Arts Center. We are so proud of our Belles. We sponsor two special events for our Belles each year. We formally present our Freshman Belles at the January Masterworks concert and in early February 2020 we will host our Gala Weekend. This annual tradition is our biggest fundraising event for the year and provides an opportunity to highlight MOSC and the Guildâ€™s connection to fine arts in the Permian Basin, as well as showcase the many accomplishments of our Senior Belles. The weekend includes a black-tie dinner and dance to honor our Senior Belles, along with many members and patrons, for their years of service to MSG and the Midland community. It is my honor to serve as President for Midland Symphony Guild this year. I look forward to working alongside many wonderful men and women while also having the privilege to encounter exceptional musical and fine arts performances. For our Belles, friendships will be formed, a spirit of service instilled, and a love of the arts encouraged. Thank you to the Midland-Odessa Symphony & Chorale for enriching our lives for another season. Melissa Ware 2019-2020 President Midland Symphony Guild

2019-2020 MIDLAND SYMPHONY GUILD OFFICERS & BOARD OF DIRECTORS President President Elect VP for Symphony Belles VP for Finance VP for Membership VP for Community VP for Projects Correspondence Secretary Recording Secretary Parliamentarian Nominating Chairman

Melissa Ware JoAnna Low Blanche Wheeless Ashley Grimes Meredith Flowers Natalie Jones Pat Mata/Adrianne Clifton Kimmee Brandon Hannah Jacoby Cassandra Cheek Leslee Day

Website: www.midlandsg.com Facebook: Midland Symphony Guild Midland Symphony Guild is a 501(c)(3) charitable organization. We support MOSC financially and through volunteer methods. MSG also works to impact this community via our Belle program. To support MSG or join our mission, please contact us through our website at www.midlandsg.org

4109 N. Midland Drive Midland, TX 79707 (432) 559-1117 www.eyelasikmidland.com

2019 - 2020 PRESIDENT, ODESSA SYMPHONY GUILD Elton John may have said it best: “Music has healing power. It has the ability to take people out of themselves for a few hours.” For 61 years the Odessa Symphony Guild has been a proud supporter of the Midland-Odessa Symphony & Chorale because we believe in the importance of growing and sharing the benefits that music brings to a community. It’s a concept that our OSG founders held when they gathered in 1958 to form an organization that would provide volunteer and financial support to local music programs. That passion continues today as we enlighten a new generation to the beauty of professional music. Over the decades, the OSG has grown into a non-profit organization that has raised thousands of dollars to fund MOSC educational programs and concerts. The MOSC brings world-class musicians to our area to enrich the lives of West Texans with their chorale, ensemble, and full orchestra performances. What a gift to our communities! We are proud of the hundreds of young men and women who have served as Belles and Beaux representing the OSG. These 9th through 12th grade students spend their time volunteering as ushers at concerts, hosting receptions, serving musicians breakfast, setting up for SoundBites Suppers and attending concerts. Their families join our OSG Patrons to enthusiastically support MOSC by contributing financially, promoting concerts, and selling memberships. In February 2020, we will host our annual Symphony Gala Ball. This is OSG’s primary fundraiser to benefit the MOSC. This special evening is focused on honoring our senior Belles and Beaux who have served throughout their high school careers. In addition we present the freshman, sophomore and junior Belles and Beaux at the Ball. These students excel academically and give passionately to their community. Each year is an opportunity to see them grow into poised and graceful young adults who have the interpersonal skills to become the leaders of tomorrow. We invite you to join us for this special event. I am honored to serve as the president of the Odessa Symphony Guild this year and look forward to working with a fantastic group of volunteers who are dedicated to our mission of supporting the arts. We congratulate the Midland-Odessa Symphony & Chorale on their 57th season of enriching our community through beautiful music. Tatum Hubbard Fulbright 2019-2020 President Odessa Symphony Guild

2019-2020 ODESSA SYMPHONY GUILD OFFICERS AND COMMITTEE CHAIRS EX EC UTIVE B OAR D

President President-Elect Membership VP Project VP Ticket VP Recording Secretary Treasurer Asst. Treasurer Parliamentarian Corresponding Secretary

Tatum Fulbright Stacie Pruitt Connie Grewell Kim Watkins and Amber Barrientes Muffin Navarrete Oryan Womack Joni Robinson Lisset Velasquez Lisa Hill Melissa Carrasco

OD-40020595

STANDING C OM M ITTEE CHA IR S Arrangements Tamara Bavousett and Sandra Rose Belles/Beaux Susan Henry and Alice Salzwedel Bylaws Heather Bland Historian/ Public Relations Julie Drainer Nominating Vanessa Dunn Yearbook Crystal Kiker and Nadine Glasman Patron Liaison Heather Kirk and Jacqui Gore Communications Christin Timmons

Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor

Presents

From East to West

Kevin Young, tuba SATURDAY, JANUARY 25, 2020 7:30 P.M. WAGNER NOÃ‹L PERFORMING ARTS CENTER THIS CONCERT IS PROUDLY SPONSORED BY DR. JAMES & SHARON HUMPHREYS

From East to West 7:30 p.m. Saturday, January 25, 2020 Wagner Noël Performing Arts Center Gary Lewis, conductor Jiang Liu, guest conductor Kevin Young, tuba Guan Xia (1957-) Sorrowful Dawn Overture Ralph Vaughn Williams (1872-1958) Concerto in F minor for Bass Tuba and Orchestra I. Prelude: Allegro Moderato II. Romanza: Andante Sostenuto III. Finale – Rondo alla tedesca: Allegro

~INTERMISSION~ Claude Debussy (1862-1918) Prelude to the Afternoon of a Faun Aaron Copland (1900-1990) Four Dance Episodes from “Rodeo” I. Buckaroo Holiday II. Corral Nocturne III. Saturday Night Waltz IV. Hoe-Down

M E E T

T H E

A R T I S T

KEVIN YOUNG - TUBA Dr. Kevin Young is a native of Baton Rouge, Louisiana where he began his music career playing trombone and tuba at the age of 11. After graduating from high school, he attended Louisiana State University. His academic career was interrupted with his enlistment into the United States Army. He spent nearly nine years serving his country at four separate duty stations. His assignments were to the 1st Calvary Division Band in Ft. Hood, Texas, 8th Army Band in Yongsan, Seoul, Korea, The United States Continental Army Band in Ft. Monroe, Virginia and the 389th Army Band (AMC's own) in Aberdeen Proving Grounds, Maryland. Dr. Young has performed extensively throughout the East Coast from Orlando, Florida to Halifax, Nova Scotia. He has also performed as a free-lance musician outside of his military assignments with many chamber ensembles. Now out of the military, Dr. Young completed his D.M.A. at Texas Tech University, where he studied with Dr. Kevin Wass, and has completed both the Bachelor of Music and Master of Music degrees from Louisiana State University. He maintains an active private studio where many of his students have made the All-State, Area, and Region bands. He also serves as Adjunct Faculty for the University of Texas of the Permian Basin (UTPB) and Midland College. One of his favorite teaching engagements is the Bowie Fine Arts Academy in Midland, TX where he teaches 4th-6th grade band students. Dr. Young has also served on the faculties of Wayland Baptist University, and Lubbock Christian University. Just recently, he had a successful inaugural run of “Kevin Camp”, where he teaches brass fundamentals to students aged 14 years and older. Dr. Young is the Principal Tuba player for the Midland Odessa Symphony & Chorale, Big Spring Symphony, and the Lone Star Brass quintet. He has performed with the Louisiana Philharmonic Orchestra, Rapides Symphony Orchestra, Lake Charles Symphony, San Angelo Symphony, Dominion Brass Band in Virginia, and the Salt River Brass in Phoenix, Arizona. His playing has been greatly influenced by Dr. Kevin Wass, Gene Pokorny, Randy Hawes, Dr. Joseph Skillen, Larry B. Campbell, Sam Pilafian, Pat Sheridan, Deanna Swoboda, and Robert Nuñez. In his spare time, Kevin is an avid cook learning new and creative Cajun recipes, but he is still learning how to create the perfect omelet. However, his favorite activity is spending time with his wife, Lee Ann, and their four puppies: Ginger, Charlie, Sophie, and Myrtle.

M E E T T H E A R T I S T JIANG LIU - GUEST CONDUCTOR Dr. Jiang Liu obtained his Bachelor's of Music from the Sichuan Conservatory of Music and his Master's Degree in Violin Performance from the University of Louisiana-Monroe. Dr. Liu came to Odessa, Texas in 1996 to work at ECISD as a strings teacher under the mentorship of Mr. Charles Nail. As a member of the Midland Odessa Symphony Orchestra, he played violin and viola for five years. In 1998, encouraged by his colleagues and by his own experiences as a teacher and performer, he furthered his professional growth by studying conducting with Dr. Tom Hohstadt. Under his teaching, Jiang Liu was accepted by the prestigious American Academy of Conducting at Aspen, Aspen Music Festival and School, where he studied with David Zinman. He was then accepted by the School of Music at University of Nebraska-Lincoln where he studied with Dr. Tyler White and where he obtained his Doctor of Musical Arts (DMA) degree in Orchestral Conducting. In 2004, Jiang Liu became the Music director and Conductor of the University Symphony Orchestra at the University of Dayton, where he also taught as a Professor of Conducting and Coordinator of String Studies. He was also the Conductor of Lincoln Union College and Concordia University at Nebraska. He has been invited as a guest conductor and professor for multiple orchestras including the Cincinnati Music Conservatory, University of New York, Baylor University, University of San Diego, Hofstra University, Miami University, Bowling Green State University, University of Northern Iowa, Miami Valley Orchestra, and the Cincinnati Music Festival. Dr. Liu has also been invited to speak at the National Conference of American College Orchestra Directors in both Provo and Atlanta. In 2013 he become the Music Director and Principal Conductor of the Chengdu Symphony Orchestra, Guest Professor of the Sichuan Conservatory of Music, Music Director of the Sichuan Conservatory Symphony Orchestra, and the Music Director of Sichuan Normal University Symphony Orchestra. In China, he has been invited as a guest conductor for orchestras across the country including those in Beijing, Shanghai, Xiamen, Kuming, Chengdu, and Chonqin. From 2005 to 2018 he has conducted more than 100 Western master symphonic works in China. As a life-long educator, he has devoted much of his time to developing students in their musical pursuits. Many of his students have been accepted to conservatories across the U.S. including Eastman, Juilliard, New England, Peabody, Cincinnati, Austin, Miami, Indiana, Michigan, Bowling Green, and Nebraska.

From East to West Masterworks: From East to West Program Notes Dr. Martin King © 2020 Guan Xia b. June 30, 1957 in Kaifeng, China Sorrowful Dawn Overture Composed: adapted for orchestra in December 2003 by the composer from his earlier opera, Sorrowful Daw The Work in Context • 2001: The Human Genome Project publishes the first full analysis of the human genome • 2002: The US Justice Department opens its investigation into Enron Corporation • 2003: Guan Xia adapts Overture No. 1 from his opera Sorrowful Dawn • 2004: Brazil launches its first successful rocket into space Chinese composer Guan Xia is one of the most prominent musicians in China. A 1985 graduate of the Central Conservatory of Music in Beijing, Guan Xia has gone on to compose symphonies, operas, and music for television and film. He is the executive director of the China National Symphony Orchestra and serves on a variety of national level boards and commissions overseeing music making in China. American musicologist and specialist in Chinese Music Joshua Cheek describes Guan Xia’s music as “pentatonic romanticism in which you can sense the expressiveness of Puccini, theatrical tension and strength of Verdi, and the rich orchestration of Wagner. Guan Xia adapted Overture No. 1 from his opera Sorrowful Dawn, which tells the story of China’s war to free itself from domination by the Japanese empire in the 1930s and 1940s, ending in victory at the close of the Second World War. The work opens with an introduction featuring a glorious melody in the horns that evokes the heroic themes this instrument is known for. The rest of the brass section joins and brings the music into the main body of the piece, which is written in an ABA form. 32

This first A section features lush, sweeping lines in the strings and a lovely solo in the oboe. The middle section consists of more violent, martial music driven by the percussion section and set off by explosive accents in the winds. The introductory material returns to help draw the music back to the opening A section. The work draws to a close with more peaceful music leading to a final, glorious climax. The composer wrote that he hopes that this ending expresses the peace and hope that are can result from the “strength and hope of a glorious victory in the great age of revolution.” This work has been heard around the world a concert piece, performed by many of the world’s leading orchestras. The melodies and themes of this music are even more popular in China, however, because this piece was used as incidental music for the highly successful Chinese TV show Age of Passions. Ralph Vaughn Williams b. October 12, 1872 in Down Ampney, Gloucestershire, England d. August 26, 1958 in London, England Concerto in F minor for Bass Tuba and Orchestra I. Prelude: Allegro Moderato II. Romanza: Andante Sostenuto III. Finale – Rondo alla tedesca: Allegro Composed: 1954 for the Golden Jubilee of the London Symphony Orchestra Premiered: The London Symphony Orchestra with Philip Catelinet, the LSO’s tubist as the soloist. The Work in Context • 1952: First open heart surgery performed at the University of Minnesota • 1953: Dwight D. Eisenhower, Supreme Commander of the Allied Expeditionary Force in World War II, sworn in as United States President. • 1954: Ralph Vaughn Williams Tuba Concerto in F written and premiered

From East to West (continued) • 1955: The polio vaccine considered safe, children begin to be vaccinated Ralph Vaughn Williams was born into a well-to-do English family that raised him to be socially conscious and to care for those less fortunate than himself. His father, a vicar in the Church of England, died when the composer was just five years old. His mother took the three children and moved back to her home, where young Ralph first began to study piano. Ralph Vaughn Williams was not a musical prodigy; in fact, he was something of a late bloomer. Many of the people who knew him, including some members of his family, did not believe that he had the talent to be a professional musician, and encouraged him to go to Cambridge to study for a career such as law or the clergy. Vaughn Williams, however, was persistent, and went on to earn a doctorate in music from the Royal College of Music and studied composition with Max Bruch and Maurice Ravel. He eventually found a compositional voice that was distinctly English. Vaughn Williams loved the British musical culture, and began collecting English folksongs, much the

way Bartok and Kodaly collected Hungarian folksongs. This interest in folk combined with his love of music of the Elizabethan era formed his uniquely British compositional style. No musical event was too small for Ralph Vaughn Williams to take interest in. He wrote music for amateurs and school children as well as for professional ensembles. A long-time friend of the composer Gustav Holst, Ralph Vaughn Williams died having become one of the most important composers and musicians of his generation. Even in 2019, the sight of the tuba in front of the orchestra as a soloist is somewhat unusual. In 1954, the idea of tuba as solo instrument was completely unheard-of. The idea for the Tuba Concerto in F minor came from Vaughn Williams himself, who wanted to write a piece for the Golden Jubilee of the London Symphony Orchestra. The LSO’s tubist, Philip Catelinet, was just as shocked as anyone to be engaged to play a tuba concerto! He writes, “As a musician, I really couldn’t appreciate the idea of the tuba being the center attraction as soloist on a concerto at an orchestral concert. The

Call (432) 685-1372 If you have any questions about retirement planning, we are here to help and welcome the opportunity to work with you to craft a retirement plan that is as unique as you are. • Financial Planning • Retirement Planning • Lifetime Income

• Life Insurance • IRA Solutions • Wealth Transfer

DEE K. CARTER, CLU, CHFC PRESIDENT 1030 Andrews Hwy, Suite 105 Midland, TX 79701 432-352-1894 dcarterﬁnancial@ﬁxedincomecounsel.com

Investment advisory services offered through Sound Income Strategies, LLC, an SEC registered advisory ﬁrm. Carter Financial Group and Sound Income Strategies are not associated entities.

From East to West (continued) tuba was too often connected by the public with what was humorous and ludicrous to be considered seriously a possibility on a concert platform.” Vaughn Williams, however, was not joking, and the preparations for the concert proceeded, snarky comments from incredulous critics notwithstanding. Mr. Catelinet was so nervous about the public reception of the word that he did not want his wife to attend the performance. The performance was not the disaster that the soloist had feared, and this first tuba concerto has become the staple of the solo tuba repertoire. Philip Catelinet remarked that he so appreciated the way that Vaughn Williams interacted with him without ego or pretention. It is clear in the music as well that Ralph Vaughn Williams took the self-appointed task of writing the first tuba concerto very seriously. The first movement is a brisk, British style march. The music is lighthearted, with the tuba bouncy lightly and gracefully across its high range. Vaughn Williams takes full advantage of the winds to add color to the accompaniment. The first movement, like the third movement, takes advantage of the full range of the instrument, both high and low. The cadenza in the first movement must have come as another shock to the audience, as it requires the performer to traverse the entire range of the instrument quite rapidly. The second movement is a lovely, lyrical melody that demonstrates the capability of the tuba in a different way. For an instrument who rarely gets to play melodies in the orchestra setting, this movement allows the

West Texas Urology Locations: 2706 West Cuthbert, Bldg C Midland, TX Behind Albertsons on Andrews Hwy

(432) 687-0311 540 W. 5th Street, Ste. 420 Odessa, TX In the Wheatley Stewart Medical Pavillion next to Medical Center Hospital OD-40021109

performer to play beautiful, expressive melodic lines. The final movement, an energetic rondo, start with trills in the tuba. The opening theme is quite athletic. The contrasting melody is more lyrical, but it culminates in another cadenza. Once again, the tuba shows its virtuoso prowess. The movement ends in an enthusiastic flourish from the orchestra. Claude Debussy b. August 22, 1862 in St. Germain-en-Laye, France d. March 25, 1918 in Paris, France Prelude to the Afternoon of a Faun Composed: Work begun in 1892, maybe as early as 1891 Premiered: December 22, 1894, at a concert of the Société Nationale de Musique in Paris, Gustave Doret, conductor The Work in Context • 1892: The Sierra Club founded by John Muir • 1893: New Zealand the first country to give women the vote in national elections • 1894: Prelude to the Afternoon of a Faun premiered • 1895: The X-ray developed in Germany Claude Debussy was born to a family of very modest means who lived in the outskirts of Paris.

From East to West (continued) When he was seven, his family fled the siege of Paris to Cannes, where Debussy first studied piano. He showed so much musical promise that he was enrolled in the Conservatoire de Paris at the age of ten. He first studied piano, but his attention later turned to composition. He eventually won the prestigious Prix de Rome, which resulted in a residency in Italy. Over the next years, the young Debussy traveled and experienced a variety of musical styles. He appreciated Wagner, but he believed that his style of late-romantic music was on the way out. Debussy was more interested in Renaissance Italian music, Javanese Gamelan music he heard at the world’s fair, and Russian music. His varied musical interests, combined with his involvement with the symbolist poets, lead Debussy to develop a unique and innovative musical style. Although Debussy rejected the label, many scholars and critics have called him the first impressionist composer for the way his music reminds the listener of impressionist art.

flute throughout the work. The piece ends gradually fading away with the flutes, muted horns, and percussion gradually giving way to silence.

Claude Debussy’s Prelude to the Afternoon of a Faun was inspired by a poem by Stephane Mallarme of the same name. Mallarme was an innovator and one of the earliest poets who came to be known as “symbolists.” This style of poetry was not in strict meter or driven by narrative. Rather, it sought to express moods and feelings and contained many complex images and symbols. The poem describes a faun, a mythical woodland creature that has the upper half of a human and the lower half of a goat, lounging in the sun daydreaming about the woodland nymphs who live around him. It is never quite clear in the poem whether the nymphs are real or just in the faun’s imagination as he drifts in and out of sleep.

b. November 14, 1900 in Brooklyn, New York d. December 2, 1990 in North Tarrytown, New York

In Greek mythology, fauns play an instrument called the syrinx, which is the Greek version of the panpipe. So, it is only fitting that the work begins and ends with a flute solo, emerging out of complete silence at a soft dynamic. The music that follows feels improvisational at times, as it is free of a driving rhythm and develops slowly. Debussy makes careful use of dynamic contrast throughout, with the louder moments being divided by soft, ethereal music. Much of the mood and feeling of the piece is generated by the prominent use of the

Prelude to the Afternoon of a Faun was so innovative Debussy’s colleagues were concerned that it would not be understood and might therefore be panned. However, their concern was misplaced, as the work became immediately popular and quickly became one of Debussy’s most widely performed work. Composer and conductor Pierre Boulez remarked, “it has been said often: the flute of the Faun brought new breath to the art of music; what was overthrown was not so much the art of development as the very concept of form itself, here freed from the impersonal constraints of the schema, giving wings to a supple, mobile expressiveness, demanding a technique of perfect instantaneous adequacy.” Aaron Copland

Four Dance Episodes from “Rodeo” V. VI. VII. VIII.

Buckaroo Holiday Corral Nocturne Saturday Night Waltz Hoe-Down

Composed: The original ballet written for Agnes De Mille and the Ballet Russe de Monte Carlo, which had moved to the United States during World War II. Premiered: Metropolitan Opera House on October 16, 1942. The symphonic version was premiered by the Boston Pops in 1943. The Work in Context • 1940: Winston Churchill becomes Prime Minister of Britain. Evacuation of Dunkirk begins • 1941: Germans besiege Leningrad, Japanese attack Pearl Harbor • 1942: Rodeo premieres, Anne Frank given the book in which she writes her dairy as a gift 35

From East to West (continued) • 1943: Warsaw Ghetto Uprising. The Jewish residence of the ghetto resisted the Nazis and was burned down block by block Known as the “Dean of American Composers,” Aaron Copland was the youngest of five children in a Jewish family who had emigrated from Russia. He began composing at a young age and studied composition with the American composer Rubin Goldmark. Upon graduating high school, Copland moved to Paris and, like a number of young American composers, studied with composition teacher Nadia Boulanger. Copland greatly enjoyed his studies with Boulanger and felt at home in the American expatriate community of artists and writers which included Ernest Hemmingway and Sinclair Lewis. After Copland moved back to the United States in 1925, his work gradually transitioned from modernist and intellectual to more populist and accessible. His works such as El Salon de Mexico and Appalachian Spring helped Copland rise to prominence and provided him with a level of financial security in the midst of the Great Depression. A proponent of “music for use,” Copland wrote music for school ensembles and music that could be useful outside of the traditional concert hall. His signature open, slow moving harmonies have come to be seen as quintessentially American, evoking the vast and wide-open American landscape. The ballet Rodeo is subtitled “the Courting at Burnt Ranch.” The work was commissioned by Agnes de Mille and the Ballet Russe de Monte Carlo, a ballet company that relocated to the United States at the outbreak of World War II. Although de Mille was a relatively obscure dancer at the time, she was given total control of the project and chose to work with Copland after hearing his previous ballet Billy the Kid. The premier at the Metropolitan Opera House was so well received that it garnered 22 curtain calls! It was attended by Rogers and Hammerstein, who were so impressed with de Mille’s work that they asked her to choreograph their new musical Oklahoma! The main character of the ballet is the Cowgirl. Raised on Burnt ranch among many cowboys, the Cowgirl hopes to break out of her “just one of the guys” persona. She tries to attract the attention of the Head Wrangler, but he is 36

interested in the Rancher’s Daughter. After some failed attempts, the Cowgirl puts on a dress for the Hoe-down, attracts the attention of the Head Wrangler, and the ballet ends with the two locked in a kiss. In the Four Dance Episodes from “Rodeo,” Copland did not include the movement “Ranch House Party.” This left a four-movement suite that includes “Buckaroo Holiday,” “Corral Nocturne,” “Saturday Night Waltz,” and “Hoe Down.” “Buckaroo Holiday” opens with an energetic fanfare in the brass which gives way to the cowgirl theme in the woodwinds. A much more rhythmic theme follows as the music begins to evoke galloping horses. The movement draws material from two American folk songs, “Sis Joe” and “If He’d Be a Buckaroo.” The second tune is first presented in the trombone, then the trumpet. The “Corral Nocturne” demonstrates Copland’s brilliant mastery of the use of all of the tone-colors of the orchestra. The oboe, flute, and bassoon are the primary soloist in this melancholy movement. In “Saturday Night Waltz,” Copland uses a folk tune that the choreographer Agnes de Mille insisted be in the ballet, “I Ride an Old Paint.” The solos in this movement outnumber the full orchestra sections, and the music is relaxed and languid. This entire movement has an innocent quality about it as the Cowgirl ends up alone as all the other dancers pair off. She is rescued by the Champion Roper. The final movement, “Hoe-Down,” is an iconic piece of American music. It has been used in movies, TV, and commercials, including the memorable beef commercials of the early 1990s. This movement is unique in Copland’s music in that he uses the folk song in its entirely with almost no alteration. The fiddle tune “Bonyparte” was first recorded in 1937 and first transcribed by Ruth Crawford Seeger in 1941. Copland’s fidelity to the tune suggests that he was familiar with either the transcription or the recording of this tune. The movement is a fast-paced, exciting romp featuring all the sections of the orchestra. Program notes by Martin D. King An active performer and teacher, Martin D. King is on the faculty of Washington State University, where he teaches horn and music education. Dr. King maintains a busy performance schedule, holding positions in three orchestras in Eastern Washington and touring with his quintet, the Pan Pacific Ensemble. For more information, please visit. www.martinking.music.com

Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor and Lissa Noël Wagner with Frances Brown Present

A Rodgers & Hammerstein Celebration

Saturday, March 7, 2020 7:30 p.m. Wagner Noël Performing Arts Center Gary Lewis, conductor Featuring Sarah Jane McMahon, Gary Mauer, William Michals And The Symphony Chorale THIS CONCERT IS PROUDLY SPONSORED BY

A Rodgers & Hammerstein Celebration Featuring Sarah Jane McMahon, Gary Mauer, William Michals and The Symphony Chorale Overture

The King & I

Rodgers and Hammerstein

It’s a Grand Night for Singing

State Fare

Rodgers and Hammerstein

All the Things You Are

Very Warm for May

Kern and Hammerstein

Make Believe Ol’ Man River

Showboat

Kern and Hammerstein

Falling In Love With Love

Boys From Syracuse

Rodgers and Hart

Where or When

Babes In Arms

Rodgers and Hart

The Sound of Music Lonely Goatherd Edelweiss Climb Every Mountain

The Sound of Music

Rodgers and Hammerstein

~ INTERMISSION ~

Carousel Waltz

Carousel

Rodgers and Hammerstein

There Is Nothin’ Like A Dame A Wonderful Guy Some Enchanted Evening

South Pacific

Rodgers and Hammerstein

Shall We Dance

The King & I

Rodgers and Hammerstein

Soliloquy

Carousel

Rodgers and Hammerstein

Oh, What A Beautiful Morning People Will Say We’re In Love Oklahoma!

Oklahoma!

Rodgers and Hammerstein

M E E T

T H E

A R T I S T

SARAH JANE MCMAHON Hailed by The New York Times as “bright, active, and fastidiously musical,” and by Opera News as having “a golden sound,” Sarah Jane McMahon is recognized for her “beautiful vocal sophistication” and “sparkling stage presence.” Recently, Sarah Jane sang a Gala concert opposite Placido Domingo and made her debut with The San Francisco Symphony, Munich Philharmonic, the Wiener Konzert Haus, Bremen’s Die Glocke, and the Santo Domingo Festival in The Dominican Republic. A frequent guest artist at New York City Opera, she performed Mabel in their new production of The Pirates of Penzance and was described by The New York Times as “the most polished and flexible singer in the cast” and “a deft comic actress.” She also received their coveted Kolozsvar Award for her performances as Galatea in Handel’s Acis and Galatea, and was lauded for her “silvery-voiced soprano” and “real star presence” in Purcell’s King Arthur. Selected by Maestro Placido Domingo to join the Los Angeles Opera, she sang with the celebrated tenor as the Fifth Flower Maiden in Parsifal, Naiad in Ariadne auf Naxos and The Milliner in Der Rosenkavalier. Sarah Jane also has performed with Bard SummerScape Festival as Xanthe in Richard Strauss’ Die Liebe der Danae, with the Washington Concert Opera as Dorinda in Handel’s Orlando, with Michigan Opera Theatre as Zerlina in Don Giovanni, Arizona Opera as Mabel in Pirates of Penzance, Opera Grand Rapids as Fiordiligi in Cosi Fan Tutte, Pamina in Die Zauberflöte, Maria in West Side Story and Micaela in Carmen, Opera Omaha as Fanny in Il Cambiale di Matrimonio, Toledo Opera as Violetta in La Traviata, Josephine in HMS Pinafore with both the Louisiana Philharmonic Orchestra and San Antonio Opera, with Central City Opera as Maria in West Side Story, Kathie in The Student Prince, Anne in A Little Night Music, and Lucia in Rape of Lucretia, with Chautauqua Opera as Mabel in The Pirates of Penzance, with Des Moines Metro Opera as Susanna in Le Nozze di Figaro, Lisette in La Rondine, and Abigail Williams in The Crucible, Opera Company of North Carolina and Mississippi Opera as Gilda in Rigoletto, Piedmont Opera as Clara in The Light in the Piazza, and Opera Theater of Connecticut as Violetta in La Traviata and Cleopatra in Handel’s Giulio Cesare. Her roles with the New Orleans Opera include Pamina in Die Zauberflöte, Micaela in Carmen, Valencienne in The Merry Widow, Musetta in La Bohème, Monica in The Medium, and Maria in West Side Story. Sarah Jane also performed Donna Clara, the Infanta,

M E E T

T H E

A R T I S T

in Zemlinsky’s Der Zwerg at Bard SummerScape Festival for which Opera News wrote: “Sarah Jane McMahon laughed and danced as the glamorous Infanta, making a golden sound with an alluring light vibrato that evoked the young Pilar Lorengar.” A summa cum laude graduate of Loyola University, New Orleans, and Yale University, recent concert appearances have included Christmas Concerts with The San Francisco Symphony and Shreveport Symphony, Carmina Burana at Avery Fisher Hall and with the Tulsa Opera and Ballet, the Rutter Requiem at Carnegie Hall, Knoxville Summer of 1915/Mahler 4 with the Portland Symphony and Ridgefield Symphony, Bravissimo! with the Canadian Opera Orchestra, Messiah with the Jacksonville Symphony, Winston-Salem Symphony, and Louisiana Philharmonic Orchestra, Mahler 8 with the Asheville Symphony, Gala concerts with the Sarasota Symphony and Youngstown Symphony, and Baroque concerts with Lyrica Baroque. Sarah Jane has recorded the title role in the premiere recording of Emmerich Kalman’s Sari, available on Albany Records. She also has an album of sacred music dedicated to New Orleans and the survivors of Hurricane Katrina, a Christmas album, Night of Silence, and a newly released old standards album, Blessings and Silver Linings.

GARY MAUER Gary Mauer was seen on Broadway as the Phantom in the Hal Prince production of The Phantom of the Opera, a role he previously performed on the National tour. Previously he starred in the Broadway production of The Phantom of the Opera, performing the romantic leading role of Raoul. In addition, Mr. Mauer performed in the Broadway production of Les Miserables in the role of Enjolras, the revolutionary leader, a role he also performed with the National Tour in the US and Singapore. In addition, he performed the leading role of Gaylord Ravenal in the National Tour of Show Boat, opposite his wife, Elizabeth Southard. Mr. Mauer was also a featured soloist in the world tour of “The Music of Andrew Lloyd Webber,” with Michael Crawford, bringing him to Japan, Australia, England, Scotland and culminating back in the US, where he performed for two weeks at the famous Radio City Music Hall in New York City. Regionally, his numerous credits include Jesus in Jesus Christ Superstar, Frederick in The Pirates of Penzance, Anthony in Sweeney Todd, Tony in West Side Story, Whizzer in March of the Falsettos and Danny in Baby. A graduate of the University of Arizona, Mr. Mauer has performed with symphony orchestras all over the world including the Brazil Symphony Orchestra in Rio de Janeiro the Cleveland Orchestra, Chicago Symphony (with Marvin Hamlisch), Hong Kong Philharmonic, Colorado Symphony, Utah Symphony and Opera, Buffalo Philharmonic, Phoenix Symphony, San Diego Symphony, among many others. Mr. Mauer has performed numerous times with Peter Nero and the Philly Pops and toured with Mr. Nero in Spain. Gary was the guest soloist in many concerts with the late Marvin Hamlisch. He is the tenor soloist in the popular BRAVO Broadway! 43

M E E T T H E A R T I S T WILLIAM MICHALS Recently appearing in the landmark revival of Rodgers and Hammerstein’s South Pacific at Lincoln Center, Broadway and concert baritone William Michals made his Broadway debut as “The Beast” in Disney’s Beauty and the Beast, and later returned to play Gaston in the same production. His career has continued in such roles as Javert in Les Miserables, Billy Flynn in Chicago, Don Quixote in Man of La Mancha, Harold Hill in The Music Man, and also recognition by Chicago’s “Jeff” and the National Star awards for his portrayal of Chauvelin in the recent national tour of The Scarlet Pimpernel. Audiences across the country have enjoyed him as Captain von Trapp in The Sound of Music, and as Billy Flynn in Kander & Ebb’s Chicago. Not only has Michals played the great theatrical venues of the nation, including Carnegie Hall, Broadway’s fabled Palace Theatre, LA’s Ahmanson and D.C.’s Kennedy Center for the Performing Arts, but he’s also entertained in New York’s finest rooms, including the Rainbow Room, The Four Seasons, and the Grand Ballroom of The Plaza. Casino dates, like the recent concert at the Foxwoods Resort, continue to be a part of his calendar. Michals regularly appears with the country’s leading orchestras, including the San Francisco, San Diego, Utah, and Hartford Symphonies, The New York Pops, and appeared with Peter Nero and the Philly Pops for another sold-out evening of “Broadway Showstoppers”. William recently returned from Hong Kong, where he performed concerts with the Hong Kong Philharmonic. He has sung The National Anthem for major league sporting events from coast to coast, and enjoys the rare distinction of performing for the joint leadership of the House and Senate inside The United States Capitol. Symphonic performances of "The House I Live In" and John Williams' "America, The Dream Goes On" have garnered the praise and admiration of many D.C. notables, especially Sen. Orrin Hatch (himself an accomplished songwriter). Mayor Rudy Giuliani personally called upon William to open the December 11, 2001 memorial service at Ground Zero with a solo, a cappella rendition of "Let There Be Peace On Earth", which has been rebroadcast worldwide over network TV, CNN, National Public Radio, and the Internet. William’s credits extend into the operatic world, in New York, Boston, and in concert at the Aspen and Tanglewood Music Festivals. Favorite roles include Figaro and the Count in Mozart’s Le nozze di Figaro, Escamillo in Bizet’s Carmen, Marcello in Puccini’s La Bohème, Danilo in Lehár’s The Merry Widow, and the dark Hunding in Wagner’s Die Walküre. TV appearances include "Law and Order", "All My Children", and "Guiding Light." Following the success of his live CD, william michals broadway in concert, William is now collaborating with some of the extraordinary creative talents behind Sarah Brightman, Josh Groban, and Charlotte Church, fusing a myriad of musical styles and providing a dark baritone sound to the “classical crossover” market. His growing fan base counts members from Europe, Canada and the United States.

THE SYMPHONY CHORALE Gregory M. Pysh, Conductor Hyun Kyung Lee, Accompanist Soprano

Alto

Tenor

Kylie Anderson Alice Beckstrom Cathy Bonifay Lin Casebier Teresa Clingman Lauren Coleman Melanie Elledge Cindi Franks Cherie Henderson Sydney Higar Sharon Humphreys Sandra Huston Cynthia Jarrett Linda Loudenback Sonja K. Millichamp Tricia Moffa Susan Perez Renee Pocsik Kathy Pysh Eileen Shayeb Katia Soria Audrey Steakley Renee Stephenson Carrol Unger Karen Weidmann

Doris Anderson Julie Andreopulos DeeAnna Arellano Bonita Atchison Jannee Banner Gwen Bengfort Lisa Bristow Debbie Butler Lynne Chandler Mary Dawson Virginia DeBerry Melody Drinkard Amy Forste Clarissa Funk Kristie Graves Summer Hae Cindy Hall Berniece Johnson Carol Kirk Kati Lewis Krista Lynam Connie May Pam Miles Dawn Miller Jiamei Morgan Mary Neff Cathy Oâ€™Reilly Sandy Patrick Hannah Payken Alex Raasch Valerie Rodriguez Kay Szenasi Jessica Waller

Kent Alexander Bradley Day Ron Hankins John Kejr Jeffrey Leath Scott Long Janet Matschull David McIntyre Scooter Tilley

Bass Clyde Aly Gene Collins Leonard Glascock Terrill Littlejohn Joseph Meyer Don Miller Mike Randolph Lyle Roberts Ron Whitaker Rob Webb

OD-414831

Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor

Presents

The Planets

Geraldine Walther, viola SATURDAY, APRIL 4, 2020 7:30 P.M. WAGNER NOÃ‹L PERFORMING ARTS CENTER THIS CONCERT IS PROUDLY SPONSORED BY

SUSAN & DEE CARTER WITH DENISE & THOMAS W. ELROD ANN & KEN HANKINS JR.

The Planets 7:30 p.m. Saturday, April 4, 2020 Wagner NoĂŤl Performing Arts Center Gary Lewis, conductor Geraldine Walther, viola Visual Accompaniment by Adrian Wyard Bela Bartok (1881-1945) Viola Concerto I. Allegro moderato II. Lento III. (Finale) Allegretto

~INTERMISSION~ Gustav Holst (1874-1934) The Planets I. Mars, the Bringer of War II. Venus, the Bringer of Peace III. Mercury, the Winged Messenger IV. Jupiter, the Bringer of Jollity V. Saturn, the Bringer of Old Age VI. Uranus, the Magician VII. Neptune, the Mystic

A B O U T

T H E

A R T I S T

GERALDINE WALTHER - VIOLA Geraldine Walther, violist of the Takács String Quartet, was Principal Violist of the San Francisco Symphony for 29 years, having previously served as assistant principal of the Pittsburgh Symphony, the Baltimore Symphony and the Miami Philharmonic. A native of Florida, she first picked up the viola in a public school music program in Tampa. She went on to study at the Manhattan School of Music with Lillian Fuchs and at the Curtis Institute with Michael Tree of the Guarneri Quartet. In 1979 she won first prize at the William Primrose International Competition. Among the many works Ms. Walther performed as soloist with the San Francisco Symphony are Mozart’s Sinfonia concertante, Telemann’s Concerto in G major, Berlioz’s Harold in Italy, Hindemith’s Trauermusik, Der Schwanendreher, and KammermusikenNos. 5 and 6, Tippett’s Triple Concerto, Martinu’s Rhapsody-Concerto, and the viola concertos of Walton, Piston, Henze, Musgrave, Bartók, Schnittke, and Penderecki. She performed the US premieres of several important works with the Orchestra, including Takemitsu’s A String Around Autumn in 1990, Lieberson’s Viola Concerto in 1999, Holloway Viola Concerto, and Benjamin’s Viola, Viola (together with SFS Associate Principal Violist Yun Jie Liu), also in 1999. In May 2002 she was soloist in William Schuman’s Concerto on Old English Rounds and the Britten Double Concerto for violin and viola. In 1995 Ms. Walther was selected by Sir Georg Solti as a member of his Musicians of the World, an orchestra composed of leading musicians from around the globe, for concerts in Geneva to celebrate the 50th anniversary of the United Nations. She has also served as principal violist with the Mainly Mozart Festival in San Diego and has performed as soloist with other Bay Area orchestras. She has participated in leading chamber music festivals, including Marlboro, Santa Fe, Tanglewood, Bridgehampton, Cape Cod, Amelia Island, the Telluride, Seattle, and Green Music Festivals, and Music@Menlo. She has collaborated with such artists as Isaac Stern, Pinchas Zukerman, and Jaime Laredo, and has appeared as a guest artist with some of the world’s most renowned string quartets, including the Tokyo, Vermeer, Guarneri, Lindsay, Cypress, and St. Lawrence quartets. She joined the Takács Quartet as a regular member in the fall of 2005. In addition to her recordings for Hyperion with the Takács Quartet, Geraldine Walther has released two MSR Classics recordings: Johannes Brahms Viola Sonatas and the Trio in A Minor with pianist David Korevaar and cellist Andras Fejer and Hindemith Viola Sonatas with pianist David Korevaar. Other recordings include Hindemith’s Trauermusik and Der Schwanendreher with the San Francisco Symphony (both on London/Decca), Paul Chihara’s Golden Slumbers with the San Francisco Chamber Singers (Albany), and Lou Harrison’s Threnody (New Albion) and as a member of the Volkert Trio, Delectable Pieces (Con Brio). Geraldine is the mother of two grown daughters: Argenta, a soprano living in Los Angeles and Julia, a ceramicist, in Washington D.C., and lives in Longmont, Colorado with her husband Tom.

The Planets Masterworks: The Planets Program Notes Dr. Martin King © 2020 Bela Bartok b. March 25, 1881 in Nagyszentmiklos, Kingdom of Hungary (now a part of Romania) d. September 26, 1945 in New York City Viola Concerto IV. Allegro moderato V. Lento VI. (Finale) Allegretto Composed: Commissioned in 1945 by violist William Primrose. Completed posthumously by Bartok’s student Tibor Serly in 1949. Premiered: December 2, 1949 in Minneapolis, Minnesota. The Work in Context • 1945: Germany surrenders to the Allied forces; Japan surrenders after the Allies drop the second atomic bomb on Nagasaki. • 1946: India forms its first government independent of British rule. • 1947: Jackie Robinson, the first African American player in Major League Baseball, plays his first game at first base for the Brooklyn Dodgers. • 1948: CBS-TV launches the first 15-minute nightly newscast. • 1949: The USSR tests its first atomic bomb, Bartok Viola Concerto premiered. A man of diverse musical interests, Bela Bartok was a Hungarian composer, pianist, and one of the founders of ethnomusicology as a field of study. Bela Bartok was born to parents who were both educators; his father directed an agricultural school and his mother was a teacher. Both parents were active amateur musicians, and they encouraged young Bela’s musical development. Bartok family lore has it that he could identify different Hungarian dance rhythms by ear before he could speak in full sentences. Bartok started piano study at age five, and by seven he was composing and being tested for having perfect pitch. He began to perform

professionally and entered the Royal Academy of Music in Budapest at age 18. Bartok struggled as a young composer to find his own musical voice. As a young composer, he was initially influenced by the late Romantic Era music of Liszt, Wagner, and Richard Strauss. He was also taken with the music of Claude Debussy, which his friend Zoltan Kodaly brought back from Paris. His friendship with Kodaly, the ethnomusicologist and educator, offered an early indicator of where Bartok’s musical style would eventually go. Kodaly had an interest in preserving Hungarian folk music, and, as a music educator, created an educational system based on folk music that is commonly found in elementary school music classrooms today. In 1904, Bela Bartok was on vacation at a resort and heard a nanny in the room next to his sing Hungarian folk songs to the children she was watching. He quickly found his pencil and paper and transcribed exactly what he heard. This event lead to his lifelong pursuit of folk music. Bartok began to allow folk music to gain a larger and larger influence over his composition, and he finally gained a full-time position as an ethnomusicologist at the Budapest Academy of Music in 1934. The onset of World War II caused Bartok to emigrate to the United States, where he passed away in 1945. Bela Bartok’s music gained in popularity after the end of World War II as Hungarian conductors, v iolinists, and pianists gained more worldwide opportunities and enthusiastically advocated for Bartok’s music. The prominent Scottish violist, William Primrose, commissioned Bela Bartok to write his Viola Concerto for the fee of $1,000. Bartok was initially unsure of his ability to write a major solo work for viola, but after immersing himself in some of the major solo works for this instrument, he began his work in the summer of 1945. Unfortunately, Bartok fell into ill health in September of 1945. His friend Tibor Serly, who would go on to finish the concerto, recounts: Pointing to these manuscript sheets, I inquired about the viola concerto. Bartok nodded wearily toward the night table, saying: “Yes, that is the viola concerto.” To 51

The Planets (continued) my question as to whether it was completed, his reply was, “Yes and no.” He explained that while in the sketches the work was by and large finished, the details and scoring had not yet been worked out. Serly completed the work after Bartok’s death, which was no easy task given the cluttered and disorganized nature of the manuscripts. Serly eventually donated the manuscripts to the Bartok Archives, and violists around the world compared Bartok’s sketches to Serly’s finished product. This original edition was printed with the comment on the title page: “Prepared for publication from the composer’s original manuscript by Tibor Serly.” Given Bartok’s increasing popularity as a composer, William Primrose ended up performing this work over 100 times with prominent orchestras. In 1970, he compared commissioning this work to “getting in on the ground floor in investing in Xerox or the Polaroid camera.” The first movement opens with the solo viola accompanied by the timpani. The movement contains three primary themes, each of which are presented in the viola and separated by music from the orchestra. Right before the recapitulation, the section of the music where the opening themes return, the viola plays an extended cadenza accompanied rhythmic figures in the orchestra. The movement ends the way it began, with solo viola and very sparse accompaniment. The second movement contains a beautiful, sinuous melody in the upper range of the viola over accompaniment in the winds. The movement is in ABA form, with the contrasting middle section containing more agitated music accompanied by the string section. The music seamlessly transitions into the third movement, which is an energetic rondo form. The main theme of this movement has its roots in Scottish folk music, which may be a tip of the cap to William Primrose, the Scottish violist who commissioned the work. The three movements of this concerto are played without pause. Gustav Holst b. September 21, 1874 in Cheltenham, Gloucestershire, England d. May 25, 1934 in London, England 52

The Planets Composed: Holst began the work with “Mars” in 1914 and finished the final movement he wrote, “Mercury,” in 1916. Premiered: The first performance was a private performance in London on September 29, 1918. The public premiere did not occur until after World War I in London on November 15, 1920. VIII. IX. X. XI. XII. XIII. XIV.

Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic

The Work in Context • 1914: Archduke Franz Ferdinand assassinated in Serajevo, starting World War I. Holst begins The Planets. • 1915: Babe Ruth hits his first home run; German U-boat sinks the British ship Lusitania. 128 Americans die. • 1916: The Easter Uprising begins in Dublin as the Irish fight for independence. • 1917: The United States declares war on Germany, joins World War I • 1918: A formal armistice ends World War I on November 11. The Planets private premiere Gustav Holst was born into a family of German immigrants living in England that had boasted at least one professional musician in each of the previous three generations. As a child, health issues made pursuing music difficult for young Gustav. He had undiagnosed poor eyesight and neuritis in one of his arms, which derailed his dreams of a career as a pianist. He took up trombone at age 12. His father hoped that playing the trombone would cure his asthma. Although playing the instrument did not cure his asthma, Holst ended up playing trombone professionally early in his career. Holst studied composition and counterpoint at the Royal College of Music. He also studied trombone, and he supported himself by playing trombone in musical

The Planets (continued) theater orchestras. Holst’s early musical influences were Wagner, the revival of Purcell’s opera Dido and Aeneas, and later, Ralph Vaughn Williams and his passion for English folk song. Holst’s career as a composer grew slowly. He joined the Scottish Orchestra as a trombonist and played under the baton of Richard Strauss. In 1903, he left orchestral playing and took up teaching. He taught at St. Paul’s Girls’ School and Morley College for decades. His work at St. Paul’s was widely praised for bringing more serious music and rigorous study to a curriculum being taught to young women. In the years before World War I, Holst wrote two pieces that are known to almost anyone who played an instrument in their high school band. First Suite in E-flat and Second Suite in F are two of the most important early works for wind band. These works, influenced by and sometimes quoting English folk songs, helped the wind band tradition break away from simply playing transcriptions by providing substantial, original music for this ensemble. Holst volunteered for military service in World War I but was rejected due to his ongoing health issues. He was eventually assigned to the music section of the YMCA. In this position, he worked with decommissioned British troops who were in Europe waiting to come home. As a send-off, Adrian Boult conducted the Queen’s Hall Orchestra in the premiere of The Planets. The success of The Planets made Holst famous as a composer for the first time. He now received high profile commissions from orchestras such as the New York Philharmonic. His success as a composer allowed him to devote more time to composition, which lead to increased productivity. In 1932, Holst was offered a six-month post as a guest lecturer at Harvard University. His health began to decline, and Gustav Holst died in London on May 25, 1934. His longtime friend, Ralph Vaughn Williams, conducted some of Holst’s own music at the composer’s funeral. Gustav Holst’s The Planets is a massive work for an equally large orchestra. Almost all the wind sections are larger than usual, and the percussion section consists of six players. The piece also employs two harps, celesta, organ, and three-part women’s chorus. The first performance of the piece

was not a public performance; it was rather a private send-off concert for the composer before he left for his volunteer service with the YMCA in the aftermath of World War I. The first public performance was still not a complete performance. Adrian Boult only programmed five of the seven movements, as he felt that the audience may not have been able to handle the entirety of such an innovative work. The first complete performance was not until November 15, 1920 by the London Symphony. The piece was well received and launched Holst from relative obscurity into international prominence. The piece is conceived astrologically rather than astronomically. This may be why the Earth is not included in the suite. The now-controversial Pluto (is it a planet or not?) was not discovered until 1930, which explains its absence as well. Holst wrote of the music: These pieces were suggested by the astrological significance of the planets; there is no program music, neither have they any connection with the deities of classical mythology bearing the same names. If any guide to the music is required the subtitle to each piece will be found sufficient, especially if it be used in the broad sense. For instance, Jupiter brings jollity in the ordinary sense, and also the more ceremonial type of rejoicing associated with religions or national festivities. Saturn brings not only physical decay, but also a vision of fulfillment. Mercury is the symbol of mind. Mars, the Bringer of War is an absolutely relentless movement in 5/4 time. From the beginning of the movement we can hear Holst’s background as a trombonist in how prominently the brass are featured and how well he writes for them. The rhythmic ostinato introduced by the strings collegno (a technique where the string is struck with the stick of the bow rather than the hair) drives the music forward through the majority of the movement. Adrian Boult recalled that the aspect of war the composer hoped to express was its wastefulness and stupidity.

The Planets (continued) Venus, the Bringer of Peace opens with a distant horn solo answered by the flutes. The identification of Venus with the goddess of love goes back to the Babylonians, at least 5,000 years ago. In astrology, Venus restores piece after the disorder of Mars passes. The violins have a lovely song-like melody in the movement, and the harps are featured prominently in this movement. Mercury, the Winged Messenger is a quick, scherzo-like movement. The god Mercury was first associated with the role of messenger in Homer’s epic The Odyssey. Astrologers consider Mercury to be “the thinker.” The music is quick, volatile, and flighty. It features the woodwinds and contains frequent meter changes. The celesta plays an important role in this movement. Jupiter, the Bringer of Jollity is the most recognizable movement of the suite. Jupiter was the king of the gods, and this name is where we get the word “jovial.” In astrology, Jupiter represents the scope of possibility and with fortune and inheritance. The most “English” of the movements, Holst wrote an original hymn tune for the piece which we hear in the middle of the movement. In 1921, Holst set this tune to the words of the poem “I Vow to Thee, My Country.” Vaughn Williams gave it a religious text, named the tune “Thaxted,” and included it in his collection of hymns Songs of Praise in 1926. The tune can still be found in hymnals of a variety of denominations. The music surrounding the hymn-tune is energetic and prominently features the brass. Saturn, the Bringer of Old Age is inspired by the outermost planet known in ancient times. The god Saturn is traditionally portrayed as an old man. Saturn represents man’s time on earth, with all its triumphs and disappointments. The music, like Venus, is slow and we hear the horns, flute, and harps prominently. The movement, while slow, contains a sense of forward momentum and builds towards stately climaxes. This movement was Gustav Holst’s favorite movement of the suite. Uranus, the Magician refers to the first planet discovered via telescope. Sir William Herschel discovered the planet in 1781. Uranus rules 54

invention, innovation, and even astrology itself. The brass and timpani forcefully open the movement. The whole movement has the feeling of a galloping horse. The music is lively and bright and becomes boisterous at times. Neptune, the Mystic is the final movement of the suite. The planet Neptune was discovered in 1846. At the time Holst wrote this piece, Neptune was the farthest known planet in our solar system. In astrology, Neptune signifies confusion and mysticism. The movement opens with the flute section, including alto flute, playing in the low register. The whole opening of the movement has a shimmering, lyrical quality to it not unlike Debussy’s orchestral work La Mer. The middle of the movement features extended celesta solos. In the score, Holst directs the women’s chorus “"to be placed in an adjoining room, the door of which is to be left open until the last bar of the piece, when it is to be slowly and silently closed." They repeat the final bar and gradually fade away. It is rare for a composer to end a large-scale work with an ending that fades into nothing. Holst combined this technique with brilliant orchestration to produce an absolutely breathtaking ending to this work. In addition to its popularity on the concert stage, The Planets has had a major impact on the movie music of the last 40 years. John Williams has often comment on what an influence The Planets has had on his compositional style. In particular, the melodies and orchestration of “The Imperial March” draw on Mars, the Bringer of War. Hans Zimmer’s soundtrack to Gladiator drew its inspiration from this movie as well. Program notes by Martin D. King An active performer and teacher, Martin D. King is on the faculty of Washington State University, where he teaches horn and music education. Dr. King maintains a busy performance schedule, holding positions in three orchestras in Eastern Washington and touring with his quintet, the Pan Pacific Ensemble. For more information, please visit. www.martinking.music.com

Orchestratingg Success Thats the Strength rengt rength g of Momentum. tum. Call or visit us to learn arn more. mor 866-530-BANK K

OD-40020957

ÂŽ

m.bank ÂŠ 2019 American Momentum Bank |

M Member emb ber F FDIC DIC

THERE ARE NO SECOND FIDDLES TO US.

4526 E. University #1A Odessa, TX 79762 Ofﬁce: (432) 368-6800 Cell: (432) 528-1153 E-mail: simsguess@cableone.net Web: simsguessrealtors.com

frostbank.com (877) 862-4900

GARY SIMS, ABR, CRS BROKER-OWNER Mega-Million Dollar Producer

Name Droppers Name Brand Fashion consignment shoppe

The Hemingway Fine Cigars • Pipes • Tobacco Accessories • Premium Wines Imported and Domestic Beer Live Entertainment Tue - Sat 2200 W Wadley #2 Midland, TX 79705 Ph 432-570-5333 Cigar/Wine Bar

Melissa Barth We Accept Visa-Discover-Mastercard Cash-Checks-Debit Cards

Owner

20%

NEW ARRIVALS EVERY THURSDAY https://www.facebook.com/NameDroppersOdessa/

1541 JBS Parkway, #10

432.337.8526

thehemingwayofmidland.com 3952 E. 42nd St. Ste. 0 Odessa, TX 79762 Ph 432-550-5511 Cigar/Cocktail Lounge

Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor and Lissa Noël Wagner with Frances Brown Present

Wizards, Witches & Fantastic Beasts

Saturday, May 2, 2020 7:30 p.m. Wagner Noël Performing Arts Center Gary Lewis, conductor THIS CONCERT IS PROUDLY SPONSORED BY

WIZARDS, WITCHES & FANTASTIC BEASTS Saturday, May 2, 2020 7:30PM Gary Lewis, conductor MUSIC FOR THIS CONCERT FEATURES SELECTIONS FROM: Beauty and the Beast Video Games Live Chronicles of Narnia Harry Potter (several movies) Game of Thrones Fantastic Beasts and Where to Find Them Lord of the Rings: The Fellowship of the Ring World of Warcraft How To Train Your Dragon

Mor tgage Lending Since 1904 BUYING | BUILDING | REFINANCING MEMBER FDIC

EQUAL HOUSING LENDER

NMLS 410435

| 432.687.W TNB | W TNB.com

Because music matters to us, too. At FirstCapital Bank of Texas, we put your well-being above all else. That’s why we’re a proud supporter of the Midland-Odessa Symphony & Chorale’s mission to enhance the quality of life for all of us . . . one beautiful note at a time.

FCBTexas.com 844.FCBTEXAS

COMMERCIAL INSURANCE EMPLOYEE BENEFITS www.MarshMMASW.com 432-694-2595 15 Smith Rd., #6000 Midland, Texas 79705

Morris Brooks x San Smith Tim Flatt x Rob Boyd

Abilene

Austin

Dallas

Fort Worth

Houston

Lubbock

Midland

2 0 1 9 - 2 0 2 0

S P O N S O R S

POPS & FAMILY SERIES SPONSOR LISSA NOÃ‹L WAGNER WITH FRANCES BROWN PLATINUM ($10,000) Anadarko Midland Symphony Guild Odessa Symphony Guild GOLD ($5,000) Cimarex Energy Co. Community National Bank Concho Resources FirstCapital Bank of Texas Lithia All American Auto Group Shamrock Steel Sales Claire & Jim Woodcock SILVER ($3,500) Cotton, Bledsoe, Tighe & Dawson P.C. Dr. James & Sharon Humphreys Plains Marketing L.P. Martha and Paul Crump BRONZE ($2,500) Aghorn Energy Brazos Door & Hardware Frost Bank Susan & Dee Carter with Denise & Thomas W. Elrod Carol and Tom Chandler Ann & Ken Hankins, Jr. Diann and John McKee West Texas National Bank

CHAMBER & CHORAL CONCERTS ($500) Shamrock Steel Sales Dee and Susan Carter Dr. James & Sharon Humphreys Chris and Fred Newman Patches & Scraps LLC Ann Parish Betty Ann Prentice MUSIC EDUCATION SPONSORS Ann Parish Arts Council Midland Diamondback Energy Betty Ann Prentice ECISD MISD MEDIA, LODGING & TRANSPORTATION SPONSORS DoubleTree by Hilton Hotels at Midland Plaza Rogers Ford Lincoln Midland Reporter-Telegram Odessa American Basin PBS CBS7 West Texas Radio Group KWEL Radio Midland Living Magazine

The Odessan Thank you to all sponsors of this remarkable 57th season. The critical role played by our sponsors year after year allows the Midland-Odessa Symphony & Chorale to stay true to its mission of Enriching Lives Through Music. For sponsorship opportunities please contact MOSC Development Director Violet Singh at development@mosc.org or 432-563-0921. 64

2019 - 2020 FUND DRIVE CONTRIBUTORS The Midland-Odessa Symphony & Chorale is very pleased to acknowledge the generosity of those who place high value on the presence of live symphonic, chamber and choral music in the Permian basin. Through their monetary commitment or through other unique forms of support they enable MOSC to fulfill its mission of Enriching Lives Through Music for a 57th season! Listed below are the gifts and pledges received for the 2019-2020 season as of August 1, 2019. DIAMOND BATON SOCIETY ($10,000+) Arts Council of Midland Beal Foundation City Of Midland (HOT) J.C. Ferguson Foundation Midland Symphony Guild Odessa Symphony Guild Permian Basin Area Foundation Rea Charitable Trust The Henry Foundation PLATINUM BATON SOCIETY ($7,500) Scott Long GOLDEN BATON SOCIETY ($5,000+) Estate of Marjorie Ross Karen and Spencer Beal Karmen & Billy Bryant Maridell Fryar Kay and George Smith Claire and Jim Woodcock SILVER BATON SOCIETY ($2,500+) Exploration Geophysics / Lee A. Miller Ken Anderson & Anne Acreman, M.D. Nancy Anguish Michael & Dana Ashton Susan & Dee Carter Carolina and Ronny Keith Mary B. Kennedy Dr. Ed & Suzanne Rathbun Rosemary and Max Wright FORTISSIMO ($1,000) Brazos Door and Hardware / Diann and John McKee Standard Sales Company, LP Barry & Cliffy Beal Sherry and Phillip Bell Dale Brown Drs. Richard and Roberta Case Mary Lou Cassidy Roger Corzine

Martha and Paul Crump Betty Rae and Paul Davis Denise & Thomas W. Elrod Marion & Robert Frazier Rosalind Redfern Grover Betty P. Gulledge Ann & Ken Hankins, Jr. Dr. James & Sandra Huston Patricia and Leon Jeffcoat Mary Kim

Doris Casey Mason Red and Juandelle Lacy Roberts Douglas Scharbauer Lura and C. Richard Sivalls Carole V. Warren FORTE ($500) Anonymous Chaparral Bolt & Supply / Keith and Norma Binam 65

2019 - 2020 FUND DRIVE CONTRIBUTORS Penny and Ernie Angelo Kirk & Suzie Boyd Richard & Sherry Buck Juana Christesson Betty Dale Judia Foreman Jeff and Lou Nelle George Richard Gilliam Patti and Tevis Herd Dr. Thomas A. & Anne B. Hyde Dianne & William Jones Julie and Donald Judson David & Sarah Lauritzen Chris and Fred Newman Ann Parish Elizabeth Prentice Randee and Jack Rathbone Gary Brednich & Robin Richey Floyd & Kathy Rountree Gregory Smith Bryce Swinford Dr. Carol Ann Traut Mr. and Mrs. J.B. Whatley MEZZO FORTE ($250) Mike & LaNelle Agee Marilyn & Don Andjulis Dottie Barker Fredda Black Dr. Deborah Edwards Dr. Paul Feit Dee Griffin Judith Hayes Caroline Ater Howard Shirlee and Kent Alexander Susan and Ted Kerr Stephen J. Kroger LaDoyce Lambert

Lynn Mashburn Terry and Zahir Noormohamed Eric Panzer Bob & Ruth Price Neva Rousselot Joyce Sherrod Violet and Mark Singh James & Allison Small Todd Stallings Carrol and Georgia Thomas Jessica Waller Ludie and Eben Warner Bill & Patti Watson Richard and Deeann Werner CRESCENDO ($125+) Ellen Bryant Tierra Company, L.P. Network For Good Cindy and John Barkley Julia Cobb Nicole Dragisic Monsignor Larry Droll Mary and Bill Garay Mark Germer Christin & Daniel Gray Elizabeth Greaves Dr. William and Edna Hibbitts Ron & Sarah Holcomb Jack and Carolyn Laschkewitcsh Patti and Rod MacDonald Steven Palma Jeryn Roberts Dr. Tulsi and Claudette Singh PIANO ($75+) Jewish Philanthropic Union Pedi Cardio of West Texas

Sherri Allen Lisa Alvarado Amy Azarov Mary & Joseph Baker Em Carnett Adrianne Clifton Pamela Desparrois Jennife Jennifer Cindee Dietrich Michelle Dinger Steven Dojahn Arlen Edgar Anita Elms Jacqui & Mark Gore Amber Hall Debbie Hightower Tina Jauz Heather Lauer JoAnna Low Cecilia Lujan Dana Marsh Amanda McDonald Laura Kate Mueller Crystal Myers Jill & Wes Pearson Kathryn Ray Caroline Scott Kendall Smith Laura Smith Dick & Pat Snyder Susanne Solari Roger & Cheryl Spotts Bonnie Squire Carmen Stewart Paige Summer Melissa Thomas John & Valerie Tinker Melissa Ware

Trinity students Davis Seybert and Rocio Rivera focus on shaping their clay as they grow their interest in pottery.

At Trinity School, we are throwing pots in art, snapping pictures in photography, tuning up in band, vocalizing in choir, gracing the stage in drama, and â€“ most importantly â€“ coming to know an aesthetic point-of-view. Our students are well prepared to be appreciative audiences and stalwart supporters of organizations like the Midland-Odessa Symphony & Chorale. Experience the difference. trinitymidland.org

OD-414832

3500 West Wadley | Midland, TX 79707 | 432-697-3281

ENDOWMENT FUND CONTRIBUTORS

You, Your Legacy and the music of the MOSC

For over 56 years, the music of the Midland-Odessa Symphony & Chorale has been presented as planned; despite the economic conditions in the Permian Basin, the music continued and no season (or part of a season) has ever been canceled. What a testament to residents of the Permian Basin and their determination to include live symphonic and choral music as an integral part of the cultural landscape of West Texas. Your gift to the MOSC Endowment Fund allows you to join generous contributors whose gifts go immediately to work and provide critical funding for the quality programming the MOSC offers season after season for residents of all ages. For further details on how you can play your part in assuring that the MOSC continues to Enrich Lives Through Music well into the future, please contact Violet Singh, Development Director at development@mosc.org (432) 563-0921.

THE FOUNDERS

Mrs. Keleen Beal

Millennium Club ($25,000+) MEMORIALS: Walter Osadchuk Dr. & Mrs. Michael S. Miller Mary June Rasmussen Mr. Kenneth Anderson & Anne Acreman, MD Anonymous Karen & Spencer Beal Davidson Family Charities Estate of Dollie Neal Ballenger Mary de Compiegne Estate of Mary Louise Gilmour Rosalind Redfern Grover William Randolph Hearst Endowment for Music Education Midland Symphony Guild MOSC Board of Directors Harvey & Harriet Herd John & Doris Mason Estate of Alice B. Moxey David Austin Stephens

Beethoven Society ($10,000-$24,999) In Memory of Charles Tracy Sivalls Mrs. C.T. Sivalls In Honor of Ruth McFarland Midland Symphony Guild Estate of Mary Harrington Anonymous (2) Nancy & Buddy Anguish Drs. Terry & Elvira Burns Dr. & Mrs. J. Terry Carpenter Mr. & Mrs. Nance G. Creager Marion E. Luper, Jr.

Mr. & Mrs. Louis Rochester

Dr. & Mrs. William L. McGavran III Beverly Pevehouse Mr. & Mrs. T.G. Roden Mr. & Mrs. Earl Rodman

Mozart Society ($5,000-$9,999) In Honor of Ted Hale Anonymous MEMORIALS: Nelson Allison Marion E. Luper, Jr. Jared A. Barlage Marion E. Luper, Jr. Roy E. Campbell Mrs. Viola Campbell HONORARIUMS: Ted Hale Anonymous Michael J. Santorelli Modesta and Clayton Williams J.C. Ferguson Foundation The Midland Musicians Club Drs. Richard & Roberta Case Mr. & Mrs. Robert H. Cole Roger B. Corzine Dr. & Mrs. Bart Mayron Phil & Susan Parker Mr. & Mrs. C. Richard Sivalls Mr. & Mrs. George S. Smith Mr. & Mrs. Mark D. Wilson

Bach Society ($1,000-$4,999) MEMORIALS: Anne K. Anson Robert D. Anson

Robert D. Anson Drs. Richard & Roberta Case Tyler T. Burns Bobby & Denise Burns Johnny “Cactus Jack” Dowdle Nash Dowdle Marguerite W. Davis Ludie & Eben Warner John M. Grimland, Jr. Mrs. John M. Grimland, Jr Neal H. Johnson Berniece Johnson Vera Osadchuk Bea & Bob Angevine Walter Osadchuk Mr. & Mrs. Jerry Covington Josh H. Parr Anne & Jim McLaughlin Victoria Parr Ehrlich Mary June Rasmussen Dr. & Mrs. Terry Unruh Fred A. Stout, Jr. Kathlene N. Stout Martha Tompkins Dianne & Mark Tompkins Bob Winkler & Clayton Taylor Winkler Carolyn Winkler HONORARIUMS: Dorothy Davis Dr. & Mrs. Terry Unruh Michael J. Santorelli Penny and Ernest Angelo Carole V. Warren Shari Santorelli Penny and Ernest Angelo Betty Rae and Paul Davis

ENDOWMENT FUND CONTRIBUTORS (continued) The MOSC Chorale Carole V. Warren Estate of Joyce Ann Bradley ExxonMobil Foundation Marshall & Winston. Inc. Mobil Foundation, Inc. Shinn Industrial Sales/Barbara & Don Shinn TXU Electric The Midland Musicians Club Anonymous (3) Nelson Allison Dollie Neal Ballenger Dr. & Mrs. John E. Bauman Karen & Spencer Beal Mr. & Mrs. Robert L. Boothe Mrs. M.O. Boring, Jr. David and Vicki Brown Bob & Julia Chandler Mr. & Mrs. K. Michael Conaway Paul & Martha Crump Betty & Albert Dale Mr. & Mrs. Roy H. Davidson Mary & Henri de Compiegne Kimberly B. Dollens Betty & Don Ewan Celeste Fasken Frances Gilliland Elizabeth A. Greaves Elizabeth Harvey Karl & Cathy Herzog Mr. & Mrs. Lloyd Innerarity Mrs. Stan Jacobs Mr. & Mrs. Bob L. Jones Marian & Charles E. Jones V. Wayne & Joann Jones Mr. & Mrs. James W. Lacy Dr. Ron Larson & Pat Paxton Larson Stephanie Latimer Jane C. Lea Robert M. & Prudie Leibrock Scott W. Long LaNelle McBee Mr. & Mrs. Stephen McHaney Rusty & Alyson McInturff Mr. & Mrs. James D. McLaughlin Walter & E. Grace Osadchuk Dr. E. Grace Osadchuk Mr. & Mrs. Josh H. Parr Dr. & Mrs. Jess Parrish Margaret L. Peer Mr. & Mrs. Charles R. Perry Mr. & Mrs. Robert Pollard Mike and Sue Potter

Mr. & Mrs. Robert R. Rice Mr. & Mrs. A.W. Rutter, Jr. Rick & Debbie Schneider Violet & Mark Singh Dr. Roger M. Traxel Bill & Patti Watson Harold & Jacquelyn Williams Jane Wolf Mr. & Mrs. Max Wright Contributors (Up to $999) HONORARIUMS: Bea Angevine Jane & Don Samples Katherine Bash & Duncan Kennedy Harriet A. & Gene Motter Jack “Dug” Belcher Dortha & Ronald Bennett Dortha & Ronald Bennett & Barbara Shinn Ms. Judy DeWees Brad Bullock MOSC Board of Directors Marin & Ashlin Bullock Brad & Crista Bullock Chris Chance Pamela Howell Carol Chandler MOSC Board of Directors Jo Ann Collett The Midland Musicians Club Kimberly Corman Janet Williams Pollard Ann Countryman Larry & Gwen Roberts Mrs. D. Pat Darden Betty M. Scott Gary Edmiston Employees of Security State Bank Karen Elliott Jane Wolf Trisha Faubion Karen Watson Maridell Fryar Bea Angevine Jane & Don Samples Sue Solari Louise M. Garay Bill & Mary Garay Luis de la Garza, III Pamela Howell Richelle Gengler The Midland Musicians Club

Dr. Ted Hale Anonymous Carol, John & Caroline Deats Edith C. Hardy The Midland Musicians Club Lee Harley Flo White Sharon Hickox Mark & Janet Krause Dr. Thomas A & Anne B. Hyde Violet and Mark Singh Peggy C. Jones The Midland Musicians Club Abigail Kauffman Mary Macferran Jeannette Kolokoff Crystal Radford Ann Parish Betty Ann Prentice LaDoyce Lambert MOSC Board of Directors David Lauritzen MOSC Board of Directors Martha Lewis The Midland Musicians Club John and Melissa Madura Violet and Mark Singh Reba McHaney Mr. & Mrs. Stephen H. Parker Tim Young & Sharon Hickox Edward McPherson Jeannette & Mark Kolokoff Vera Osadchuk The Midland Musicians Club Dr. Henry Page The Midland Musicians Club Mr. & Mrs. Walter Pope Midland Symphony Guild Richy Puga Jennifer & John C. Harper Gregory Pysh Chapter Gd P.E.O. Connie May Russell J. Ramsland Midland Symphony Guild Jay Reynolds MOSC Board of Directors Red & Juandelle Lacy Roberts Violet & Mark Singh Elizabeth Roweck The Midland Musicians Club Jane Samples Bea Angevine

ENDOWMENT FUND CONTRIBUTORS (continued) Michael J. Santorelli Violet and Mark Singh Janet Stafford Carol Symonette Shari Santorelli Craig and Doris Anderson Connie May Violet and Mark Singh Janet Stafford Carol Symonette Cliff & Joyce Sherrod Violet & Mark Singh Violet Singh Alynda Best Joanie Holt Rev. Jon & Dale Stasney Sue Smith & Jim Huddleston Alathea & Jim Blischke Violet and Mark Singh Sue Solari Jane & Don Samples Mark & Jeannette Kolokoff Bill & Mary Garay Herb and Pat Stanley Violet and Mark Singh Cindy Walton Amy A. Walton Jane Wolf Memorial Christian Church Billy T. Schulze Beverly Wise The Midland Musicians Club Gene & JoAnn Wyatt Risa Brown MEMORIALS Nelson Allison Michael & Dana Ashton Bob & Kay Bivens Karl & Cathy Herzog Joan McCown

Sue & Buddy McDonald Violet & Mark Singh Dr. & Mrs. Steve Wiehle Anne Anson Mr. & Mrs. Kevin D. Durham Arlen Edgar Betty & Clem George Robert D. Anson Thomas K. Anson Ms. Francene Breckenridge Edith Libson Andrew W. Austin & Cynthia K. Stewart Eldon Basney Midland Symphony Guild Ms. Beverly K. Cunningham Dr. E. Grace Osadchuk Mr. & Mrs. Michael Tandy Emma Burnett Violet and Mark Singh Jane Wolf Jack E. Brown Jeannette and Mark Kolokoff Warren Burnett Paula & Ruff Ahders Ms. Judy DeWees Mr. & Mrs. Jim Leeton Mr. & Mrs. Michael Tandy Jane Wolf Anne Caldwell Mr. & Mrs. Charles E. Jones Clarence E. Cardwell, Jr. Eric Leibrock Mrs. Ethel Chapman Truman & Doreen McCreless Viola Campbell The Midland Musicians Club J. Dan Carpenter Alan and Susan Leshnower Marcella Christensen Katherine Grella

Doris Cooper Cowan Hill Bond Agency Mullis Newby Hurst Ronald Bennett Howard Cowan Janet Hayes Bob & Pam Leibrock Violet & Mark Singh Mary Nixon Tighe Dorothy Croft Caroline Ater Howard Chancy & Toni Croft Barbara Davis Alan & Susan Leshnower Mary McKeown Davis Pat & Herb Stanley Lynn Davis LaDoyce Lambert Perry Davis Melissa Burnett & Wayne Warren Jean Grisham Dean Jeff & Lou Nelle George Opal Dobbs Ludie & Eben Warner Gretchen Estes The Midland Musicians Club Marie Finical Chris Newman John Foster Kay & Robert Bivens Kathleen Freeman Lyn Fishman Maridell Fryar Ann Parish Betty Ann Prentice Fay Griffin Betty & Stuart Awbrey Marshall C. Gulledge Marilyn J. Craig

A new way

TO A NEW YOU.

Schedule your FREE consultation today

432.203.3300 801 Tradewinds Blvd. Ste B Midland, TX 79706 ReGen-Clinics.com

Get back to enjoying life.

Experience freedom

from back, neck, shoulder and knee pain.

ENDOWMENT FUND CONTRIBUTORS (continued) Mr. & Mrs. Robert M. Neill Frankie Simmons Mary Harrington Odessa Council for the Arts & Humanities Odessa Symphony Guild Nancy Anguish Karen & Spencer Beal Bobby & Denise Burns Emma H. Burnett Melissa Burnett & Wayne Warren Karl & Cathy Herzog Tim Young & Sharon Hickox Melissa Hirsch Mr. & Mrs. Charles E. Jones Charles Milby Hartwell Barbara Hartwell Mayor Dan Hemphill Melissa Burnett & Wayne Warren Harriet Herd Midland Symphony Guild Alathea & Jim Blische Jeannine Donnelly Kenneth Herrick Elizabeth & Preston Black Myrna Herrick The Preston Black Family Mayor Bill Hext Bobby & Denise Burns Jacque Nell Hunder Holland Marc and Kay Maddox Rose Ann Houghton Joanie Holt Robert Hudson Jane Wolf Billie Hunt Pam & Bob Leibrock

Pat Innerarity Jim & Barbara Clack Mary B. Kennedy Rebecca Sawyer Janet & Paul St.Hilaire Neal Johnson Ms. Judy DeWees Marian Jones Bob & Nancy Dott Betty & Harvey Dunn Alan & Susan Leshnower Sally McGuffey Esther D. Bird Jane Knox Jeannette & Mark Kolokoff LaDoyce Lambert Phyllis Kvasnicka Beverly Muire & Family Dick Lambert LaDoyce and Gloria Lambert Gloria Lambert Barry and Mary Beck Jeannette and Mark Kolokoff Violet and Mark Singh Jane Wolf Merceda Layton Audrey Chartier Katherine Leeton Fowler Melissa Burnett & Wayne Warren Katherine Linehan Mr. & Mrs. W.R. Berger Mr. & Mrs. Jack E. Blake Alva D. Butler Mr. & Mrs. Frank Cahoon Elinore Chase Harvey & Harriet Herd Patty & Tevis Herd Sue Houghton

Dan M.Leonard Jan & Bill Setzler Mrs. E.M. Seydell Barnie Snure Mrs. George Lovett Audrey Chartier Geraldine MacCabe Chastain Jheri Fleet Marjorie Sue McLelland Emma H. Burnett Maurice â€œMoâ€? Martel W.M. Champion Sammie K. Rogers Grace Osadchuk Jan Artley, Jane Samples, Patty Smith, Lucinda Windsor, Maridell Fryar Melissa Burnett & Wayne Warren Mr. & Mrs. D. N. Ewan Chris & Fred Newman Rebecca Sawyer Schatzie & Charlie Tighe Vera Osadchuk Rino Irving Pam & Bob Leibrock Lynch Chappel Alsup Ed Magruder Suzanne Martin Bill & Sheila Morrow Violet & Mark Singh Sue Solari Bill Stella Jan & Paul St.Hilaire The Midland Musicians Club Jane Wolf Walter Osadchuk Vera Osadchuk

ENDOWMENT FUND CONTRIBUTORS (continued) Barbara Parr Anonymous Rebecca Atwood Victoria Ehrlich Mr. & Mrs. Charles E. Jones Josh H. Parr Anonymous Rebecca Atwood Mrs. Coy Best Victoria Ehrlich Delia Griffin V. Wayne & Joann Jones Mr. & Mrs. James D. McLaughlin John O’Hern Dr. Jess Parrish Kay and Bob Bivens Harold Rasco Audrey Chartier Victor Rede Melissa Burnett & Wayne Warren Charles Roberts Mr. & Mrs. George F. Harley Betty Lloyd Ross Frank & Getchen Bell Rebecca Bell Mr. & Mrs. Frank Cahoon Ms. Sarah C. Hardwick Dr. & Mrs. Charles Simmons Violet and Mark Singh Russell F. Sanders Emma H. Burnett Sue Bob Smith Jeannette Kolokott

Elizabeth Prentice Violet and Mark Singh Junia Stoddard Helen Parsons Adhers Sally Stella Chris Newman David Austin Stephens Davis, Gerald & Cremer Stubbeman, McRae, Sealy, Laughlin & Browder Mary Lou Cassidy Permian Basin Landmen’s Association Violet & Mark Singh Nan & Alan Zeman Deane Stoltz & Susan Stoltz Tirey Kay & Robert Bivens Emma H. Burnett Wanda Campbell Kathleen Stout Midland Symphony Guild Twentieth Century Study Club Capt. & Mrs. William E. Clark Berniece Johnson Charlene Shults Kay & Robert Bivens Sheila Thompson The Midland Musicians Club Naomi Tillett Mary & Barry Beck Alva D. Butler Mr. & Mrs. Frank Cahoon

Elinore Chase Capt. & Mrs. William E. Clark David & Sarah Lew Grimes Sue & Ted Kerr LaDoyce & Gloria Lambert Mary Ann McRae Mr. Mrs. Charles L.Tighe Earl Van Stavern Midland Symphony Guild Thomas Welch Schatzie & Charles Tighe Bill J. Whitfield Dee Griffin Rita Williams Ronald & Dortha J. Bennett Berniece Johnson Dr. & Mrs. Paul H. Johnson AT&T Foundation The Bosworth Company Chapter Gd P.E.O. Tierra Company / Bill Musar Stanton Music Club Twentieth Century Study Club Anonymous (4) Dr. & Mrs. Clayton Alred Jim & Sandra Alsup Mr. & Mrs. George Alther Mr. & Mrs. John F. Armstrong Joyce R. Barthelemy Cliffy & Barry Beal Helen B. Beal Chrys & Kelly Beal Cheryl Becker

ENDOWMENT FUND CONTRIBUTORS (continued) Frank & Gretchen Bell Mr. & Mrs. Stanley Bellows Virginia Berry Elizabeth & Herb Blankinship Berry & Jane Breining Ken & Cathy Burgess Mr. & Mrs. William C. Bynum Mr. & Mrs. Frank Cahoon Mr. & Mrs. Jack C. Cartwright Edward & Cassandra Cheek Mr. & Mrs. Bill Clifton Mr. & Mrs. Robert S. Cooke Margaret Cowden Enid W. Davis Tom & Dorothy Davis Bill & Mary Anne Dingus Mary Margaret Donelson Mr. & Mrs. Lynn D. Durham, Jr. Mr. & Mrs. Curtis Erwin, Jr. Paul Feit Iris & John Foster Mr. & Mrs. Robert H. Frazer Jeff & Lou Nelle George Richard D. & Iola Gillham Dan Green Sarah & David Grimes Mr. & Mrs. M.C. Gulledge, Jr. Barbara Hales Mr. & Mrs. Robert H. Halpert Billie C. Halstead Mrs. Thornton Hardie Phil & Judy Hayes Patty & Tevis Herd

Dr. & Mrs. William M. Hibbitts Melissa Hirsch Brittie N. Holster Dr. Jim Huddleston & Sue Smith Dr. & Mrs. James Humphreys Patricia & Leon Jeffcoat Barbara J.H. Johnson Maureen Johnson & Todd Torczon Jo Ann Jonsson Al & Elayne Karickhoff Sherry Keisling Niran E. Kellogg Lee & Bob Kennedy Mary B. Kennedy Mr. & Mrs. William D. Kleine Jane Knox Sarah & David Lauritzen Pam & Bob Leibrock Edith H. Libson Buddy & Anita Lintzen Mr. & Mrs. J.K. Lytle Beverly Martin James H. Miller, D.D.S. Darla V. Mueller Kelvie Williams Muhlbauer Mr. & Mrs. Charles E. Nail Mr. & Mrs. Jim Nelson Mr. & Mrs. Fred Newman James & Jerri Nickel Ann Parish Steve & Diane Parker Bill Peyton Rod & Jane Phares

Margaret & James H. Purvis Jane B. Ramsland Randee and Jack Rathbone Lynn Renaud Jane & Ray Riddle Mary G. Ritchie Mr. & Mrs. Larry J. Roberts Mr. & Mrs. Hal Roegner Mrs. Donald A. Ross Rita Rusnak Dee Ann & Jeff Salehi Rebecca Sawyer Lisa and Geoffrey Schaffer-Harris Mrs. Suzanne Seright James & Alison Small Sally & Bill Stella Harley R. Stimmel John & Barbara Swart Mr. & Mrs. Phillip Szenasi Mr. & Mrs. Michael Tandy John J. Taylor Mr. & Mrs. L.B. Terrell Mr. & Mrs. Charles L. Tighe William A. Townsend Julia E. Vaughan Mary Edith Waddell Orin Wade Mr. & Mrs. Edward Wallace Rev. & Mrs. Robert Walter Jenna H. Welch Mr. & Mrs. Richard Werner Jann & Dr. Stephen Wiesenfeld Mike Willson

Leave a legacy of music for West Texans – make a gift to the MOSC Endowment Fund

OD-40020960

People who care, Causes that Matter.

3312 Andrews Highway • Midland, Texas 79703 432.617.3213 • www.pbaf.org

CHILDREN

FAMILIES F A AMILIES

COMMUNITY C OMMUNITY Lifelong. Lif elong. Learning. Learning.

basinpbs.org b asinpbs.org 432-563-5728 432-563-5728

Kris L. Howard, M.D., P.A.

West Texas Dermatology Center

Diplomate American Board of Dermatology Dermatology and Dermatologic Surgery

NicoleL.Connelly Nicole Stennett,PA-C PA-C

Dermatology and Dermatologic Surgery

At West Texas Dermatology Center, we offer our patients medical, surgical, and cosmetic Dermatology treatments and procedures. We are always accepting new patients, and we would be happy to be a part of your healthcare team.

OD-40020830

Acne Acne treatment treatment Skin Skinand and mole Mole evaluation Psoriasis Psoriasis Skin Skincancer Cancertreatment treatment Cyst Cyst removal removal

SERVICES WE OFFER: spots Dermal fillers fillers Age spots Dermal loss--PRP PRP&&Nutrafol Nutrafol Microneedling Hair loss Microneedling Lipoma removal removal Dermaplaning Lipoma Dermaplaning Eczema Kybella Rosacea Botox/Dysport Rosacea Botox

8141 Dorado Driveâ€˘ Odessa, Texas 79765 432.563.3113 Fax: 432.563.4206

Chemical peels peels Chemical Fotofacial Fotofacial Skinfinity Skinfinity HydraFacial HydraFacial Sclerotherapy

WHERE AMERICA SHOPS FOR WINDOWS & DOORS

Get a FREE estimate on replacement windows!

Call 432-272-0195 The Window Source of West Texas Today and take advantage of this limited time offer.

THE WINDOW SOURCEÂ®

2031 Trade Drive Midland, Texas 79706 www.windowsourcewesttexas.com

OD-40021525

bD [b O m i m Ò kb O OI bk[ m Ò bkJI ¿b[` m Ò bj6[bk6 bmk 6kJ ibYO m O O `bk[y U #i6 m *VUNYH[\SH[PVUZ VU `V\Y [O :LHZVU 46:* +Y 1PT HUK :OHYVU /\TWOYL`Z

OD-40021182

Proudly supports the Midland-Odessa Symphony & Chorale 2101 W. Wadley Ave. Suite 22 Midland

432.683.8474 thecanopy.net

@thecanopymidland

IIT’S T ’S HOW HOW YOU YOU C CHOOSE HOOSE T OG ET YO UR N EWS. S TO GET YOUR NEWS.

Delivering D elivering Life... Life... Every Every D Day ay

201 E. IlIllinois linois Ave. Avve. | 432-682-5311 | w www.mrt.com w w.mrt.com 90

OD-40020992

ADVERTISER INDEX Aghorn Energy, Inc. All About Hearing, Inc. Al's Water American Momentum Bank Basin PBS Becky's Flowers Brazos Door & Hardware Canopy, The Carter Financial Group Cathy Eastham Fine Jewelry Cece's Adornments Boutique Chandler, Carol & Tom Cimarex Clack Co. Concierge Pharmacy Community National Bank Concho Resources Corey Sly Electric Cotton, Bledsoe, Tighe & Dawson Crenshaw Flooring Crump, Paul & Martha Doubletree by Hilton Earlene Smith - Rodan & Fields Exquisite Catering Eye LASIK Midland Fast ER Care First Presbyterian Church FirstCapital Bank of Texas Frost Bank George W. Bush Childhood Home Grub Kitchen and Bar Hankins, Ann & Ken Hemingway, The Hospice Odessa Humphreys, Dr. James & Sharon Jewish Philanthropic Union Kay Bivens - Legacy Real Estate KWEL - CDA Broadcasting, Inc. Lissa Noël Wagner & Frances Brown Lithia All American Auto Group Mark Knox Flowers 94

42 85 93 56 76 88 88 88 33 66 61 86 19 56 75 62 78 61 76 86 5 57 89 17 3 77 62 57 30 92 91 57 56 85 87 80 31 6 87 61

Marsh & McKennan Agency McKee, Diann and John Midland Community Theatre Midland Festival Ballet Midland Independent School District Midland Living Midland Plastic Surgery Center Midland Reporter-Telegram Midland Storytelling Festival Name Droppers N-Tune Music & Sound Odessa American Odessa College Music Department Odessan Magazine, The Patches & Scraps Permian Basin Area Foundation Permian Basin Opera Plains All American Pipeline, LP ReGen Clinic of West Texas Rogers Ford Lincoln Sam L Majors Shamrock Steel Sales Sherrod's Piano Service Sims & Guess, Realtors Susie's South 40 Texas Sun Winery Trinity School Turner Eye Clinic UTPB - Music Program Victoria Printz Team Realtors, The Village at Manor Park, The Village South at Manor Park Wagner Noël Performing Arts Center West Texas Dermatology Center West Texas National Bank West Texas Radio Group West Texas Urology Window Source, The Woodcock, Claire & Jim

63 85 81 79 86 82 91 90 47 57 55 83 2 84 92 75 27 73 71 18 7 80 72 57 74 92 67 95 19 96 46 46 21 76 60 91 34 80 60

MIDLANDâ€™S CAREER LEADER IN HOME SALES SINCE 1998!

432.683.1000 - VictoriaPrintz.com Victoria@VictoriaPrintz.com 96